collected bp the late 


«Oliver H. P. Belmont 


of New ork City 


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Colored Sporting Prints 
and 


Original Drawings 


collected bp the late 


BOliver H. 3. Belmont 


of Qeiw Vork Citp 


Bart Il 


Che Anderson Art Galleries 
12 Cast 46th Street 
New Bork . 


‘UVM SANVE Ad ‘HIAVLG AUAAIT FHT ‘093 ‘ON 


No. 821 


Colored Sporting Wrints and 
Original Drawings 


COLLECTED BY THE LATE 


Oliver H. PB. Belmont 


OF NEW YORK CITY 


PART II 


COLORED MEZZOTINTS OF GEORGE MORLAND AND JAMES WARD; 
ORIGINAL WATER-COLOR DRAWINGS OF COACHING | 
SCENES BY HENRY ALKEN AND | 
JAMES POLLARD ; 


A ComPLETE Set oF Fores’ HUNTING CASUALTIES; THE Six CocKING 
Scenses or N. FIELDING; ORIGINAL POLITICAL CARTOONS OF 
Horack TAYLOR; THE ‘‘ BACHELOR’S Hath” Fox 
- Hunting PLATES; AND OTHER SPORTING SCENES, . 

INCLUDING Prize Fi@uHTine, Racine, 
CouRsING, DEER HUNTING, 
COACHING, ETC., ETC. 


TO BE SOLD 


MARCH 16 AND 17, 1910 aaeey 


Werpnespay EveniInc, : Lots ‘1-147 
Tuurspay Evenine, ; : . 8. 148-287 


SALES BEGIN AT 8.15 o’CLOCK 


EXHIBITION FROM SATURDAY, Marcu 12Tu, 10 a.m. To 5 P.M, 


The Anderson Auction Company 


12 East 46TH STREET 
New York 


TELEPHONE, Murray Hinz 120 


ART AND MISCELLANEOUS. 


Conditions of Sale. 


1. All bids to be per Lot as numbered in the Catalogue. 

2. The highest bidder to be the buyer; in all cases of disputed bids the 
lot shall be resold, but the Auctioneer will use his judgment as to the 
good faith of all claims and his decision shall be final. He also reserves 
the right to reject any fractional or nominal bid which in his judgment 
may delay or injuriously affect the sale. 

3. Buyers to give their names and addresses and to make such cash 
payments on account as may be required, in default of which the lots pur- 
chased to be immediately resold. 

4. The lots to be taken away at the buyer’s expense and risk within 
twenty-four hours from the conclusion of the sale, and the remainder of 
the purchase money to be absolutely paid on or before delivery, in default 
of which the Anderson Auction Company will not be responsible if the 
lot or lots be lost, stolen, damaged, or destroyed, but they will be left at 
the sole risk of the purchaser, and subject to storage charges. 


5. To prevent inaccuracy in delivery, and inconvenience in the settle- 


ment of purchases, no lot will be delivered during the sale. 

6. All lots will be exposed for public exhibition two or more days 
before the date of sale, for examination by intending purchasers, and the 
Anderson Auction Company will not be responsible for the correctness of 
the description, authenticity, genuineness, or for any defect or fault in or 
concerning any lot, and make no warranty whatever, but will sell each lot 
exactly as it is, without recourse. But upon receiving before the 
date of sale expert opinion in writing that any lot is not as represented, 
the Anderson Auction Company will use every effort to furnish proof to 
the contrary, and in default of such proof the lot will be sold subject to 
the declaration of the aforesaid expert, he being liable to the owner or 
owners thereof for damage or injury occasioned by such declaration. 

7. Terms Cash. Upon failure to comply with the above conditions 
any sum deposited as part payment shall be forfeited, and all such lots as 
remain uncleared after twenty-four hours from the conclusion of the sale, 
will be re-sold by either private or public sale at such time as the Ander- 
son Auction Company shall determine, without further notice, and if any 
deficiency arises from such re-sale it shall be made good by the defaulter 
at this sale together with all the expenses incurred thereby. This con- 
dition shall be without prejudice to the right of the Anderson Auction 
Company to enforce the contract with the buyer, without such re-sale. 

8. The Anderson Auction Company will afford every facility for the 
employment of carriers and packers by the purchasers, but will not be 
responsible for any damage arising from the acts of such carriers and 
packers. 


Priced Copy of this Catalogue may be secured for $1.00. 


a ‘ palit | f 
ae te a a a ee 


No. 821 


Colored Sporting Prints and Original 
Drawiiigs 


COLLECTED BY THE LATE 


Oliver H. 33. Belinont 


OF NEW YORK CITY. 


The Work of the Great Sporting Artist, 
HENRY ALKEN. 


For a series of original water-color drawings of 
COACHING SCENES BY ALKEN 
see nos. 19, 20, 21, 22. 


1. ALKEN (HENRY). ‘‘ The Baker’s Boy.’’? IN COLORS. 
Country scene, the housewife having come out to meet the 
baker’s messenger, who is seated on a horse, large basket of 
bread beneath, cottage, dogs, etc., in foreground, church in 
background. With margins. 124.x 94 inches. Laid down. 
Framed and glazed. Lond. 1826 


2. ALKEN (HENRY). ‘‘The Butcher’s Boy.’’ With 
margins. 124+x9tinches. Laiddown. Framed and glazed. 
Lond. 1826 


Country scene; the boy, with a large sirloin of meat in a 
basket, is pulling an old-fashioned bell, dog standing by door, 
with saddled horse at back, etc., etc. 


38. ALKEN COLORED SPORTING PRINTS. A Com- 
plete Set of ALKEN’S RIDING DISCOVERIES. Plate I, ‘‘ The 
whole country covered with snow.’”’ 154 x1linches. With 
margins. Lond. 1817 


The above, and the six following lots, are ALL COLORED 
AFTER THE ORIGINAL IMPRESSIONS. Plate I, the rider having 
ridden thirty miles the previous evening to find the country 
covered with snow the following morning. 


4, ALKEN COLORED SPORTING PRINTS. Plate II, 
‘* The bough of a tree has taken off your hat.”’ 


Going in ‘‘great style,” ‘‘ you DISCOVER when half over the 
next field that a bough of a tree has taken off your hat,” 


5. ALKEN COLORED SPORTING PRINTS. Plate III, 
‘‘ Broken Girths.” 


af: Across the next field, you DISCOVER that your girths are 
broken.” 


6. ALKEN COLORED SPORTING PRINTS. Plate IV, 
‘*TIt would have been prudent to have a stronger throat.”’ 


‘*... off comes the bridle, and you DISCOVER that it would 
have been prudent to have had a stronger throat.” 


7. ALKEN COLORED SPORTING PRINTS. Plate V, 
‘Tt will be necessary to procure a horse somewhat longer in 


the legs.’ 
The rider’s gray stuck on the gate. 


8. ALKEN COLORED SPORTING PRINTS. Plate VI, 
‘‘ The only means to preserve him from being drowned.”’ 
The horse has fallen in the stream and is in danger of drowning. 


9, ALKEN COLORED SPORTING PRINTS. ‘‘ Discov- 
ered on a moor leading your lame horse home.’’ 


Night scene, leading the horse, dead lame, in a strange 
country. 


10. ALKEN SPORTING PRINTS. The Complete Set of - 


six sporting prints, as follows: ‘‘ Cover Hack,” ‘‘ Hunter,”’ 
‘¢ Cabriolet Horse,” ‘‘ Park Hack,’’ ‘*‘ Stanhope Horse,’’ and 
‘* Charger.” Engraved by H. ALKEN, after the paintings 
by John Dean Paul. FIRST EDN. Oblong folio, original 
wrappers. VERY SCARCE. Lond. 1856 


11. ALKEN’S HUNTING RECOLLECTIONS.” A set 
of six plates INCOLOR. Drawn and engraved by H. Alken. 
14 x 21 inches. With full margins. Lond., n. d. 


The above, and the five lots following, are COLORED AFTER 
THE ORIGINAL IMPRESSIONS. PlateI, ‘‘ Dash these hot horses,” 
etc. A red-coated rider mounted upon a prancing chestnut, 
two dogs running alongside. 


12. ALKEN’S HUNTING RECOLLECTIONS. Plate II, 
‘* My chestnut horse can almost fly.”’ A fine, free leap is 
being taken by the big horse over a board fence. 


13. ALKEN’S HUNTING RECOLLECTIONS. Plate III, 
‘*So much for your pepper, ete.’’ The horse is a 
splendidly across the country. 


14. ALKEN’S HUNTING RECOLLECTIONS. PlateIV, 
‘* Essex to wit.’’ A hillside. Fenceontop. The big chest- 
nut is disappearing over it. The gray is struggling up. 


15. ALKEN’S HUNTING RECOLLECTIONS. Plate V, 
‘*Push en sharp,—there be a dirty ditch t’other side.”’ 
Two horses, before the fence which precedes the ditch, 
about to take the jump. 


4 


ae eee, rere 


16. ALKEN’S HUNTING RECOLLECTIONS. Plate VI, 
** That e’re Lord ha’nt half devil enough in him.’’ The chest- 
nut falls in a ditch, while his companion bravely clears it. 


17. AMERICAN BIRD. Raised mount of an American 
bird, actual feathers used, but bill and legs added in water- 
colors. Interesting specimen. 


18. [BROWN (JOHN LEWIS).] Etching. ‘‘ Horses 
Fording a Stream.’’ 6x 74 inches. Very wide margins. 
Laid down, framed and glazed. 


COACHING. 


A collection of great interest and value, comprising 
original water-color drawings by Henry Alken, J. Pollard, 
and others. Rare original impressions of spirited coaching 
scenes by and after famous artists. 


FOUR FINELY EXECUTED ORIGINAL WATER-COLOR DRAW- 
INGS BY HENRY ALKEN, 


19. COACHING. ORIGINAL WATER-COLOR DRAWING BY 
HENRY ALKEN. 184 x 13 inches. Laid down. Framed 
and glazed. 1815 


AN UNUSUALLY ATTRACTIVE EXAMPLE OF THIS GREAT SPORT- 
ING ARTIST'S WORK, COMBINING COACHING AND FOX-HUNTING 
INCIDENTS. The coach, drawn by two bays and two grays is 
passing through a quaint village, a farmer mounted on an old 
mare is standing by watching the coach go by, when suddenly 
over the fence comes a fox closely followed by the hounds, with 
the huntsmen about to take the fence. 


20. COACHING. ORIGINAL WATER-COLOR DRAWING BY 
HENRY ALKEN. 244x174 inches. Laid down. Framed 
and glazed. 1815 


A MOST ATTRACTIVE SPECIMEN OF ALKEN’S WORK, SIGNED 
AND DATED—‘‘ H.tALKEN, 1815,” COMBINING BOTH COACHING AND 
FOX-HUNTING INCIDENTS. 

The Royal Mail, drawn by four horses, is moving slowly along 
a country road, when to the right down the hill comes the full 
pack with the hunters closely following, several figures with a 
country wagon to the rear, etc. 


21. COACHING. ORIGINAL WATER-COLOR DRAWING BY 
HENRY ALKEN. 244x174 inches. Laid down. Framed 
and glazed. [ Ca. 1815] 

A SPIRITED DRAWING BY ALKEN, COMBINING COACHING AND 
FOX-HUNTING INCIDENTS. A private chaise, whose owner, ac- 
companied by a lady, is being drawn by four bays, with two 
outriders, is travelling slowly down a hill, just in time to see 
a horse throw his rider over a fence; trees, etc., near by. 

FINE SPECIMEN, signed by the author—‘“ Alken.” 


5 


22. COACHING. ORIGINAL WATER-COLOR DRAWING BY 
HENRY ALKEN. 244x174 inches. Laid down. Framed 
and glazed. [ Circa 1815] 

A MOST ATTRACTIVE EXAMPLE OF ALKEN’S WORKMANSHIP, 
EXECUTED WITH GREAT VIGOR. Itisunsigned. A high dog-cart, 
with the owner and two hunting friends, is being drawn by 
two bays. The leader has reared, and one occupant of the 
cart has jumped down and is making for its head; another is 
in mid-air, the sudden lunge having dislodged him; a farmer 
running away, thatched cottage to the side, etc. 


23. COACHING. ‘‘ Stage Coach and Opposition Coach 
in Sight.’’ BRILLIANT ORIGINAL IMPRESSION IN COLORS. 
Engraved after J. Pollard. 214x227 inches. Laid down. 
Framed and glazed. WITH MARGINS. [Lond., ca. 1815] 

EXTREMELY RARE. Ata bend of the road the Newark-Don- 
caster coach races along, its passengers looking back and wav- 


ing hats and hands at the ‘‘ opposition,” which is endeavoring 
to overtake them. 


24. COACHING. ‘‘The Royal Mails Depart from the 
General Post Office, London.’’ Engraved by R. G. Reeves, 
after the painting by James Pollard. IN COLORS. 23x 30 
inches. Framed and glazed. With full margins. 

Lond. [ca. 1823] 


BRILLIANT ORIGINAL IMPRESSION, EXCEEDINGLY RARE, A 
scene of much life and spirit. 


25. COACHING. ‘‘ Mail.’’ Engraved by G. Hunt. ORIG- 
INAL COLORED IMPRESSION. 11$x19 inches; small mar- 
gins. Lond. 1824 


VERY RARE. As the coach is being driven along, the postil- 
ion is shown throwing the mail-pouch into the arms of the 
postmistress. In the left are seen two reapers, a milkmaid 
and her cows. 


Two Finely Executed Specimens by J. Pollard. 


26. COACHING. ORIGINAL WATER-COLOR DRAWING BY 
J. POLLARD. 26x38 inches. Laid down. Framed and 
glazed. 1825 

SIGNED IN FULL ‘‘J. POLLARD, 1825.” ORIGINAL WATER- 


COLOR DRAWINGS BY THIS FAMOUS ARTIST ARE OF EXTREME 
RARITY. 

THE ABOVE IS AN UNUSUALLY CHOICE EXAMPLE OF HIS WORK, 
It has been named on the back by some former owner (the 
artist himself ?) ‘‘ Rather late, the Opposition out of sight.” 

The Liverpool to London coach, drawn by four prancing 
horses, is speeding rapidly along a country road; the passengers 


are nearly all men, wearing the ‘‘chimney pot” hats of the 


period. 
6 


27. COACHING. ORIGINAL WATER-COLOR DRAWING BY 
J. POLLARD. 254x388 inches. Laid down. Framed and 
glazed. 1825 

SIGNED IN FULL ‘‘J. POLLARD, 1825.” ORIGINAL WATER- 
COLOR DRAWINGS OF COACHING SCENES BY THIS FAMOUS ARTIST 
ARE OF EXTREME RARITY. 

The above scene, named on the back ‘‘ A sharp pull up for 
the opposition” (by the artist himself’), is in his happiest 
manner. The London to Hastings coach, drawn by three 
bays, with men and women passengers outside, meets at a turn 
another coach and four, also with passengers outside. 


28. COACHING. ‘‘The Mail Coach in a Drift of 
Snow.” Engraved by G. Reeves, after the painting by 
James Pollard. IN COLORS. 14x184inches. Lond. 1825 


The snow is up to the hubs of the coach wheels. Horses are 
floundering in their efforts at release. 


29. COACHING. ‘‘ Posting in Ireland.” ORIGINAL 
COLORED IMPRESSION, after a drawing by Cruikshank. 
Unsigned. 93x 14 inches. Small margins. Lond. [ca. 1825] 

Two rawboned nags are seen in a vain effort to draw a 
rickety, thatched-top coach, in which sits the owner. A giant 
coachman on a small-sized seat is beating the horses with a 
club-whip. 

380. COACHING. ‘‘Route de Naples.’’ Engraved by 
DEBUCOURT, after the painting by C. VERNET. IN COLORS. 
174 x 154 inches, with margins. Paris [ca. 1825] 


BRILLIANT IMPRESSION. EXCEEDINGLY RARE, A lithograph 
finely finished in water-colors. Horse drawing a curiously 
shaped chaise, in which are seated a man and a woman, both in 
picturesque costume; hostler stands behind. 


31. COACHING. A Series of Twelve French Coaching 
Seenes. ‘‘Inconvénient.’’ Lithographed by Engelmann 
and Langlumé after A. X. Leprince. BRILLIANT ORIGINAL 
IMPRESSIONS. 11x14 inches. With margins. 

[ Paris, ca. 1825] 

The series is EXTREMELY RARE. Plate I.—‘‘Comment, j’ai 

/ perdu mon... coin?’ Many passengers and much baggage 

y | are being crowded into a large diligence. One woman discovers 
she has lost her fare. 

32. COACHING. Plate II, ‘‘Quand on n’a pas de 
memoire, ete.” The dilatory traveller arrives to find the 
coach has departed. 


33. COACHING. Plate III, ‘‘ La céte et la pluié, ete.” 
In a shower a number of people are walking, several 
couples under umbrellas. 


34. COACHING. Plate IV, ‘‘ Plaisantéz-vous?” A 
dozen persons around the dinner-table. Soup being served. 


— 35. COACHING. Plate V, ‘‘Cruels efféts d’une diges- 
tion interrompue.’’ On top of the diligence one of the 
woman passengers has been suddenly taken sick. 


7 


36. COACHING. Plate VI, ‘‘ Devouément force.’’ The 
coach has become stuck in the mud, and some of the trav- 
ellers are dismounting therein. 


37. COACHING. Plate VII, ‘‘Pauvre bibi!’’ The 
coach is overturned. The strenuous efforts on the part of 
some to assist others are amusing. 


38. COACHING. Plate VIII, ‘‘ Voila ce que c'est que, 
ete.’’ Arrived at the frontier, passengers are required to 
show their passports. 


39. COACHING. Plate IX, ‘‘Allons! . . . i) faus 
partir.’’ In a room of the inn two of the travellers are 
being warned by the servant that it is time to depart. 


40. COACHING. Plate X, ‘‘Le courage a l’epreuve.” 
The diligence has been attacked by robbers. Passengers 
are terrified. 


41. COACHING. Plate XI, ‘‘Les amusemens des 
gentils douaniers.’’ In the hands of the customs officers. 
Even the men’s wigs are lifted off and searched. 


42. COACHING. Plate XII, ‘‘ Les doucers du retour.” 
The pleasure of the return home. Passengers disembark- 
ing; the baggage is being tossed in every direction by the. 
porters. 


43. COACHING. ‘‘ London Royal Mail,’’ ‘‘ A Four in 
Hand,’’ ‘‘A Stage Coach” and ‘‘A Stage Coach.” En- 
graved by R. C. Reeve, after H. Alken. IN COLORS. 
17 x 134 inches. Laid down. Framed and glazed. 

Lond.: Fuller, 1827 

A SERIES OF FOUR FINE COACHING SCENES on one print, (1) 

The Mail pulling up at a wayside inn, the hostler about to 

water the horses; (2) going at a swinging pace along a country 
road, the walls of a fine estate to the side, etc. 


44. COACHING. ‘* The Mail Coach ina Flood.’’ En- 
graved by F. Rosenbourg, after James Pollard. IN COLORS. 
204x 25i inches. Laiddown. Framed and glazed. Lond.1827 

An unusual scene. Through the waters of the stream, which 
has overflowed its banks, the coach and passengers are being 
driven. 

45. COACHING. ‘‘Diligence Laffitte & Caillard.’’ Litho- 
graph IN COLORS after the painting by RAFFET. 17x 114 
inches, with margins. Paris, 1828 


EXCEEDINGLY SCARCE. The huge mail and passenger coach 
is standing in the inn yard while the hostlers change horses. 


46. COACHING. ‘‘ Aujourd’hui’’ (Four in Hand). 
After the painting by GUSTAVE DAVID. BRILLIANT ORIG- 
INAL IMPRESSION IN COLORS. 26 x 354 inches. Laid down. 
Framed and glazed (somewhat spotted). Paris, ca. 1828 


EXCEEDINGLY RARE. A coaching scene of unusual merit. 
The coach, drawn by four bays, has a full complement of men 
and women passengers. 


8 


4%. COACHING. ‘“ Autrefois,’’ ‘‘La Diligence.’’ After 
the painting by GUSTAVE DAVID. BRILLIANT ORIGINAL 
IMPRESSION IN COLORS. 26 x 35 inches. Laid down. Framed 
and glazed (somewhat spotted). Paris, ca. 1828 


EXCEEDINGLY RARE. The quaintly shaped Calais coach, with 
her full complement of passengers, is moving rapidly past the 
country inn, two outriders are guiding the horses. 


48. COACHING. ‘‘The Early Breakfast.’’ ORIGINAL 
IMPRESSION IN COLORS. Artist unknown. 25 x 32 inches. 
Laid down. Framed and glazed. Oirca 1835 


While the coaches—one of which can be seen through the 
window—are waiting, the passengers are breakfasting within 
the large room of the inn. 


49. COACHING. Scenes on the Road, or a Trip to 
Epsom and Back. Engraved by J. Harris, after James 
Pollard. IN -coLors. 18 x 24 inches. With margins. 


Lond. 1838 
The above, and the three following lots, are COLORED AFTER 
THE ORIGINAL IMPRESSIONS. Plate I., ‘‘ Hyde Park Corner.” 


A brilliantly colored group including coaches, cabriolets, and 
other vehicles; also, several saddle horses. 


50. COACHING. Plate II., ‘‘The Lord Nelson Inn, 
Cheam.” At the foot of a very steep hill. All sorts of 
conveyances in front of the inn. 


51. COACHING. Plate. III., ‘The Cock, Sutton.” 
Numerous pleasure parties en route. One of the traps is 
overturned and its horses about running away. 


52. COACHING. Plate IV., ‘‘ Kennington Gate.’’ One 
of the coaches has stopped within the gate, while a guard 
is trying to quiet the restive leaders. 


53. COACHING AND FOX HUNTING. The Complete 
Set of 14 Scenes on 6 sheets IN COLORS (AFTER HENRY 
ALKEN) illustrating the happenings of a party who went to 
participate in the Melton Hunt. 2641x 10 inches, with 
margins. [Lond., ca. 1839] 


Plate I (containing 3 scenes). (1) ‘‘Solvitur acris hyems—it 
thaws—we must be off to Melton;”’ (2) ‘‘Go, I fancy he can. 
Milton loquitur, upon my soul a lie—Shakespeare;” (8) ‘‘ Doing 
a bit of City.” 

This and the five following lots ARE ALL COLORED AFTER THE 
ORIGINAL IMPRESSIONS. Same size and condition. 


54. COACHING AND FOX HUNTING. Plate II. 
(4) ‘* All the world’s a stage” (Bull and Mouth Inn); (5) ‘*‘ At 
his head a grass green turf and at his heels a stone.” 
55. COACHING AND FOX HUNTING. Plate III. 
(6) ‘‘ These come hopping;” (7) ‘‘ Non-effectives; (8) ‘‘ Frogs 
and Cranes—showing a friend the short way to cover.” 
56. COACHING AND FOX HUNTING. Plate IV. 


(9) ‘‘My soul’s on fire, and eager for the field;” (10) ‘‘A 
struggle for a start.”’ 


9 


57. COACHING AND FOX HUNTING. Plate V. 


(11) .“‘ Candidates for Brooke’s;” (12) ‘‘ Gems humana ruit— 
O’Crus—O Brachia,”’ 


58. COACHING AND FOX HUNTING. Plate VI. 
(13) ‘‘ Death and the Doctors;” (14) ‘‘ Dulce domum,” etc. 


59. COACHING. ‘‘The Duke of Beaufort Coach.” En- 
graved by Charles Hunt, after W. J. Shayer. IN COLORS. 
214 x 292 inches. BRILLIANT ORIGINAL IMPRESSION. Laid 
down. Framed and glazed. Full margins. Lond. 1841 


EXTREMELY RARE, The Brighton-London coach and pas- 
sengers starting out from the famous ‘‘ Bull and Mouth” 
tavern in Regents Circus, Piccadilly. 


60. COACHING. Fores’ Coaching Recollections. Plate I, 
‘‘Changing Horses.’’ Engraved by J. Harris, after C. C. 
Henderson. IN COLORS. 234 x 32 inches. Framed and 
glazed. Lond. 1842 


While the Royal Mail rests after its trip from London, the 
horses are being changed at the stables. The two hostlers are 
assisted by the driver in harnessing. 


61. COACHING. Fores’ Coaching Recollections. Plate 
II, ‘‘All Right.’’ Engraved by J. Harris, after C. C. 


Henderson. IN COLORS. 23x31 inches. Framed and glazed. — 


Lond. 1843 


BRILLIANT ORIGINAL IMPRESSION. VERY RARE. The relay 
of horses attached to the Exeter to London coach have bee® 
harnessed, the word has been given and all is ready for th® 
balance of the journey. 


62. COACHING. Fores’ Coaching Recollections. Plate 
III, ‘‘ Pulling Up to Un-Skid.’’ Engraved by J. Harris, 
after C. C. Henderson. IN COLORS. 23 x 32 inches. Framed 
and glazed. BRILLIANT IMPRESSION. Lond. 1843 


The coach rattling along a road among the mountains; the 
passengers well wrapped in heavy garments. 


68. COACHING. Fores’ Coaching Recollections. Plate 
IV, ‘‘ Waking Up.’’ Engraved by C. Hunt, after ©. C. 
Henderson. IN COLORS. 314x 23 inches. Laid down. 
Framed and glazed. Lond. 18438 


BRILLIANT ORIGINAL IMPRESSION. VERY RARE. The Chester 
to London Royal Mail drawn by four galloping horses at the 
dawn of day, the driver turning to speak to passengers who 
have slept during the night, rolling country to the side. 


64. COACHING. Fores’ Coaching Recollections. Plate 
V, ‘‘The Olden Time.’’ Engraved by J. Harris, after C. C. 
Henderson. IN COLORS. 23 x 32inches. Framed and glazed. 

Lond. 1846 


BRILLIANT ORIGINAL IMPRESSION, VERY RARE, The Glasgow- 
London coach about to start. The time is night; some passen- 
gers have taken their places; others about to do so. 


10 


Ta 


65. COACHING. Fores’ Coaching Recollections. Plate 
VI, ‘The Night Team.”’ Engraved by N. Papprill, after 
the painting by C.C. Henderson. IN COLORS. Laid down. 
Framed and glazed. Lond. 1883 

BRILLIANT IMPRESSION. The coach having stopped near a 
thatched cottage and stable, the hostler has brought the relay 


of horses, and is adjusting their harness, etc. The driver 
assisting passengers to their seats. 


66. COACHING SCENKS. Fores’ Coaching Incidents. 
Plate I, ‘‘ Knee Deep.’’ Engraved by Harris, after Hen- 
derson. IN COLORS. 30x20 inches. Framed and glazed. 

Lond., Nov., 1843 
A midwinter scene on an English country road; the Royal 
Mail, drawn by six horses, snowbound. The driver having 


enlisted the aid of a farmer, the latter has caused two addi- 
tional horses to be brought out of the stable to help. 


67. COACHING SCENKS. Fores’ Coaching Incidents. 
Plate II, ‘‘Stuck Fast.’’ Engraved by Dunean, after Hen- 
derson. IN COLORS. 30x20 inches. Framed and glazed. 

Lond. 1843 


The Royal Mail, from Chester to London, stuck in a snow- 
drift evidently about two feet deep, the driver and passengers 
having dismounted, and with the aid of a nearby farmer (who 
has lent two horses) doing their best to extricate the coach. 
Farmer’s house, trees, etc., in background. 


68. COACHING. Fores’ Coaching Incidents. Plate 
III, ‘‘Flooded.”? Engraved by Harris, after Hender- 
son. IN COLORS. 30x 20 inches. Framed and glazed. 

Lond. 1845 


The occupants of the Royal Mail, 10 in number, seated out- 
side the coach in a pouring rainstorm, the coach drawn by six 
horses, with outrider, through a flooded field, hills, etc., to the 
side. 


69. COACHING. Fores’ Coaching Incidents. Plate 
IV, ‘‘The Road versus Rail.” Engraved by Harris, after 
Henderson. IN COLORS. 30 x 20 inches. Framed and glazed. 

Lond. 1845 


Depicts a coach and four with nine men _ passengers 
(all wearing the ‘‘top” hat of the period) spinning along 
a country road, the locomotive having come to grief, fallen 
over an embankment, river and hills in background, etc. 


70. COACHING. Fores’ Coaching Incidents. Plate 
V, ‘‘InTime for the Coach.’’ Engraved by Harris, after 
Henderson. IN COLORs. 294 x 19%inches. Framed and glazed. 

Lond. 1848 


A country gentleman hailing the coach from his own dog- 
cart, coachman on ground near the horses’ heads, the coach 
has five men and one woman as passengers, rolling country to 
the side, etc. 


11 


71. COACHING. Fores’ Coaching Incidents. Plate VI, 
‘* Late for the Mail.”’ Engraved by Harris, after Hender- 


son. IN COLORS. 294x19 inches. Framed and glazed. 
Lond. 1848 


A country gentleman in his dog-cart, accompanied by his 
dog and coachman, have arrived at the post house too late for 
the mail coach, which is going at a swinging pace some dis- 
tance ahead, the outrider whipping the horses in the hopes of 
overtaking the coach at the next stopping place, farmer’s 
house, windmill, horses in background, etc. . 


72. COACHING. Newhouse’s Coaching Scenes. ‘‘ No 
time to lose, Ma’am; here’s the other Coach close behind.”’ 
IN COLORS. 20x 15 inches. Laid down. Framed and 
glazed. Lond. 1845 

The Kendal to Penrith coach, drawn by four horses, with full 
complement of passengers inside and out, has stopped; an in- 
tending passenger is being informed by the bugler, who has 
dismounted, that the coach is full, and that another one is close 
behind. Not the least interested spectator is a Scottish soldier 
in full dress uniform of his regiment, etc. 


73. COACHING. Newhouse’s Coaching Scenes. ‘‘One 
Mile from Gretna.’’ IN CoLoRsS. Laid down. 184$x 14} 
inches. Framed and glazed. Lond. 1845 


A Runaway Match. A private coach drawn by four horses, 
with two outriders, closely followed by another. In the coach 
are two men and two women, one man standing and calling 
the driver’s attention to the pursuing coach, saying: ‘‘ One 
mile from Gretna, our Governor in sight.” 


74. COACHING. Newhouse’s Coaching Scenes. ‘‘ A 
False Start.’’ IN COLORS. 194x133 inches. Laid down. 
Framed and glazed. Lond. 1845 

The horses attached to the coach having become restless, are 


about to rear when the hostler seizes the heads of the leaders, 
the driver whip in hand in the rear, stable in the rear, etc. 


75. COACHING SCENES. Newhouse’s Coaching Prints. 
‘‘An Unwelcome Fare.’’ IN COLORS. 194 x 144 inches. 
Laid down. Framed and glazed. Lond. 1845 

The coach having pulled up at one of the village stopping 
places, the bugler is addressing a woman who wishes to board 
with a large number of trunks and packages, ‘‘ All that lug- 
gage by the Mail, Ma’am—quite impossible.”’ Church, house, 
trees, etc., in background. 


76. COACHING. Newhouse’s Coaching Scenes. ‘‘ Hold 
hard, you have forgot the lady.’’ IN COLORS. 19x14 
inches. Laid down. Framed and glazed. Lond. 1845 

The coach, drawn by four prancing horses, having stopped at 
the Cross Keys to take on passengers, is just about to get away; 
tilting a ladder on which a lady passenger is mounting, the 


bugler’s help prevents an accident; horse and stable to the 
right, rolling country to the back, etc. 


12 


77. COACHING. Newhouse’s Coaching Scenes, ‘‘ Going 
to the Moors.’’ IN COLORS. 19x14 inches. Laid down. 
Framed and glazed. Lond. 1845 


An old-fashioned dog-cart, drawn by two horses, is spinning 
along a country road, the occupants being the owner, a friend, 
the coachman and a dog, bound on a shooting expedition, 
farmer with horse and wagon of stones at side, rolling country, 
trees, etc. 


78. COACHING. Newhouse’s Coaching Scenes, ‘‘ An 
Awkward Place in a Frost.’’ IN COLORS. 1914x 14 inches. 
Laid down. Framed and glazed. Lond. 1845 


The coach drawn by four horses is crossing a dip in the road, 
where the melted snows make dangerous going, one of the 
leaders is on his knees, and the other is about to fall, when the 
bugler hurries round to their assistance, pond with skaters to 
the side, church, etc., to the back, etc. 


79. COACHING. Newhouse’s Coaching Scenes, ‘‘The 
sleepy Gate-keeper.’’ IN COLORS. 194x14 inches. Laid 
down. Framed and glazed. Lond. 1845 


‘“The Water Witch” drawn by four horses en route from 
Bath to London, with her passengers, have arrived in the rain 
at a ‘‘toll” gate, the keeper has just emerged from his house 
preparatory to opening the gate, the impatient driver and pas- 
sengers annoyed at the delay, hills to the front, trees, etc., to 
the side. 


80. COACHING. Newhouse’s Coaching Scenes, ‘‘ Quite 
full, Sir.’? IN COLORS. 194x14inches. Laiddown. Framed 
and glazed. Lond. 1845 

A country gentleman, accompanied by a lady, have just 
embarked from their carriage as the mail comes spinning along 
with a full complement of passengers, to be told by the driver 
that she is ‘‘ Quite full, Sir.” Servants and horses, etc., to the 
side. 


81. COACHING. Newhouse’s Coaching Scenes, ‘‘I’m 
afraid we have now got into the ditch.’’ IN COLORS. 19x 
14 inches. Laid down. Framed and glazed. Lond. 1845 

The Royal Mail, drawn by four horses, has lost her way in 
the snow, the driver on the box in trying to keep the horses 
steady, while the bugler, deep in the snow, is saying ‘‘I’m 
afraid we have now got into the ditch,” inside passengers leav- 
ing the cvach, etc. 


82. COACHING. Newhouse’s Coaching Scenes, ‘‘Taking 
an Inside Berth.’’ IN COLORS. 19x14 inches. Laid down. 
Framed and glazed. Lond. 1845 

_ The Royal Mail ‘‘ Red Rover,” drawn by four horses, crossing 
the open country in winter time, snow on the ground and a 
high wind blowing, one of the passengers has dismounted and 
is about to take an inside seat, saying ‘‘It strikes me we're 
going to have some rough weather.” 


13 


83. COACHING. Newhouse’s Coaching Scenes. The 
finely COLORED TITLE PAGE to ‘‘The Roadster’s Album,”’ 
which depicts Coaches and Coaching in its many aspects, 
the picturesque figures of drivers, etc., ete. 19x14 inches. 
Laid down. Framed and glazed. Lond. 1845 

The title-page to this famous coaching book must always 


rank as one of the finest executed. Copies of the book are now 
excessively rare, and command a high price. 


84. COACHING. ‘‘The New General Post Office, Lon- 
don, 1849.’’ Painted and etched by James Poliard. IN 
COLORS. 22x32 inches. Laid down. Framed and glazed. 
WITH MARGINS (slightly spotted in places). Lond. 1849 

BRILLIANT ORIGINAL IMPRESSION. VERY RARE. A scene of 
unusual animation, containing eight coaches, mail and private, 


with wagons, etc., nearby. The print presents a fine view of 
the famous post office. 


85. COACHING. Car-Travelling in the South of Ireland 
in the year 1856. Bianconi’s Establishment. Plate I, 
‘Getting ready. Hearn’s Hotel, Clonmel.’’ Engraved by 
J. Harris, after M. A. Hayes. IN COLORS. 19x 14 inches. 
Laid down. Framed and glazed. Lond. 1856 

Two coaches (‘‘jaunting car” type) standing in roadway, 


two horses harnessed and another ready, porter adjusting bag- 
gage, civilians standing around, hotel to the side, etc. 


86. COACHING. Car Travelling in the South of Ireland 
in the year 1856. Bianconi’s Establishment. Plate II, 
‘¢ Arriving at the End of a Stage.’’ Engraved by Harris, 
after Hayes. IN COLORS. 15 x 154 inches. Laid down. 
Framed and glazed. Lond. 1856 

An interesting print, entirely different from the English ones 
of the same period, the coach being of the ‘‘ jaunting car” 


type, with seats for seven on each side. With four horses it is 
travelling at a swinging pace. 


87. COACHING. Car-Travelling in the South of Ireland 
in the year 1856. Bianconi’s Establishment. Engraved 
by J. Harris, after M. A. Hayes. IN COLORS. 18x 144 
inches. Laid down. Framed and glazed. Lond. 1856 

The Coach (‘‘ jaunting-car” type), drawn by four horses, has 


stopped and a passenger is stepping aboard, rolling country, 
with a castle on a hill in the distance, etc. 


88. COACHING. Car-Travelling in the South of Ireland 
in the year 1855. Bianconi’s Establishment. Plate 5, 
‘* Dropping a Passenger.’’ Engraved by J. Harris, after 
M. A. Hayes. IN COLORS. 19x14 inches. Laid down. 
Framed and glazed. Lond. 1856 

The Coach (‘‘ jaunting-car ” type), drawn by three horses, has 


stopped, one of the passengers is saying goodby, porter moving 
forward with baggage, rocky road, with rolling country, etc. 


14 


89. COACHING. Car-Travelling in the South of Ireland 
in the year 1856. Bianconi’s Establishment. Plate 6, 
“The Arrival at Waterford. Commin’s Hotel.’’ Engraved 
by J. Harris, after M. A. Hayes. IN coLorRs. 19x14 
inches. Laid down. Framed and glazed. Lond. 1856 


The Coach and its passengers having pulled up at the hotel, 
the landlord has come out to see those who are going to dis- 
mount, civilians standing round, etc. 


90. COACHING. ‘The Brighton Day Mails Passing 
over Hookwood Common.’’ Engraved by Charles Hunt 
after the painting by J. Shayer. IN COLORS. 26x36 
inches. Laid down. Framed and glazed. Lond. 1867 
BRILLIANT IMPRESSION, 


91. COACHING. ‘The Turnpike Gate.’’ Engraved by 
J. Harris after the painting by C. C. Henderson. IN 
COLORS. 22x 304 inches. Lond. 1879 


Shows a coach-and-four travelling at night. The riders are 
in greatcoats and mufflers. The turnpike keeper is shown in ° 
nightgown and cap, with coat hurriedly thrown around him. 


92. COACHING. Dodson’s Coaching Incidents. ‘‘ Three 
Minutes to Spare.’’ Engraved by C. R. Stock, after 
T.N.H Walsh. IN COLORS. 234x 38 inches. Laid down. 
Framed and glazed... Lond. 1881 


From the rear platform of the coach as it rapidly descends 
the incline, the bugler gives the call that informs the not-far- 
distant village of the coach’s approach, 


938. COACHING. Dodson’s Coaching Incidents. ‘‘ The 
Last Change In.”’ Engraved by C. R. Stock, after T. N. H. 
Walsh. IN COLORS. 24x37inches. Laiddown. Framed 
and glazed, WITH MARGINS. Lond. 1883 


BRILLIANT IMPRESSION. The York to London Royal Mail, 
showing signs of having gone through dirty weather, has 
stopped at a country inn to change horses. Practically all is 
ready for the start, fine rolling country to the back. 

A PARTICULARLY ATTRACTIVE COACHING PRINT. 


94. COACHING. ‘“ Aboutto Start.” Etched by FRANK 
PATON, after the painting by G. G. Kilburne. 10 x.'7#inches, 
Lond. 1890 


PROOF ON INDIA PAPER, SIGNED BY PAINTER AND ENGRAVER, 
with the stamp of the Print Sellers Association. A coach, 
with four horses, is standing in the road, while the butler hands 
up a case of wine, 


95. COACHING. ‘‘ On the Road to Gretna’’(?) Etching 
by FRANK PATON, after the painting by G. G. Kilburne. 
10 x 7¢ inches. Lond. 1890 


PROOF ON INDIA PAPER. SIGNED BY PAINTER AND ENGRAVER, 
with the stamp of the Print Sellers Association. A coach-and- 
four moving swiftly along a country road, with mounted riders 
following in the distance. 


15 


96. COACHING. ORIGINAL WATER-COLOR DRAWING BY 
_R. ROSENBAUM. 313x41 inches. Laid down, framed and 
glazed. A FINELY EXECUTED DRAWING. Ne Y¥ealBO7 
Probably copied after an early print. Scene along a park 


road. Represented are a coach-and-four, a cabriolet, a dog- 
cart and several horseback riders. 


97. COACHING. ORIGINAL WATER-COLOR DRAWING 
BY R. ROSENBAUM, OF NEW YORK. 380x21#inches. Framed 
and glazed. Ne YY.) 1509 

A FINELY EXECUTED AND SPIRITED DRAWING. In all proba- 


bility copied after some English engraving of the early part of 
the X1Xth Century. 


A scene of unusual animation, in which several coaching 
parties are participating. Leading is the royal carriage, with 
its occupant, probably George IV. 


98. COACHING. ‘‘Four in Hand.” Lithograph after 
the painting by J. Pollard. IN COLORS. 20 x 23 inches. 


With margins. Lond., n. d. 
Passing the race course. Perhaps returning from the race 
itself, 


99. COACHING. ‘‘In Full Swing.” Engraved by | 
Teyssonnieres, after the painting by C. A. Fesch. 172 x 25 
inches, full margins. Paris, n. d. 

A particularly clear impression of a well-executed coach and 


four speeding along the highway. In a field not far away 
huntsmen are following the hounds, 


100. COACHING. ‘‘The Royal Mail’s Departure from 
the General Post-Office, London.’’ Engraved by R. G. 
Reeves, after James Pollard. 22x 28 inches, with margins. 


IN COLORS. Lond., n. d. 
A scene of life and color which is taking place in front of the 
Post-Office. 


101. COACHING. ‘‘ Returning from the Derby.’’ En- 
graved by W. Summers, after H. Alken. IN COLORS. 232 
x 20% inches. Framed and glazed. lLond., May 31st, 1876 

A spirited scene, with a coach and four. The passengers have 
‘* decorated ” themselves, as usual, with false noses, colored 


hat bands, etc.; other conveyances with boisterous occupants in 
the neighborhood, etc. 


102. COACHING. McQueen’s Coachings. ‘‘ Coach Match 
against Time.” By H. Birch. IN COLORS. 34 x26 inches. 
Framed and glazed. Lond. 1888. 

A spirited scene. The ‘‘Old Times” passing through Low- 
field Heath at 20 miles an hour, well-known sportsmen, includ- 


ing H. L. Beckett (the banker), A. S. Broadwood and others, as. 
passengers. 


16 


103. COACHING. ORIGINAL WaATER-COLOR DRAWING 
by Georges Busson, 1892. SIGNED IN FULL and dated. 
19 x14} inches. Framed and glazed. 1892 


The detail is well executed, the horses being particularly well 
drawn. A French coaching scene; a coach and four prancing 
horses, with five passengers, is passing over a railroad bridge, 
when a train rushes into the tunnel, the locomotive shooting 
forth steam, which startles the horses; one of the leaders rears 
on his hind legs; trees in foliage at back, etc. 


104. COCK FIGHTING. A series of FOUR SCENES on 
one sheet. IN COLORS. 17 x 10% inches. Margins cut 


away. Crrca 1820 


VERY RARE. The action of the birds executed {by an artist, 
as it is very well done. 


105. COCK FIGHTING. A Complete Set of the Cocking 
Scenes drawn and engraved by N. Fielding. IN COLOoRs. 
14x 10 inches. With margins. Lond.: Ackermann, 1853 

The following six lots comprise A COMPLETE SET of these 
spirited cocking scenes. ALL AREIN COLORS. 

Plate I, ‘‘ Set Too;—When cock meets cock—Then comes the 
tug of war.” Scene one, the cocks have just been thrown into 
the pit, both waiting a favorable opportunity for execution. 


106. COCK FIGHTING. Plate II, ‘‘ Fight.’’ 
Each tugging to be victor, breast to breast. 


107. COCK FIGHTING. Plate III, ‘‘ Throat.’’ 
The black is down, although not dead. 


108. COCK FIGHTING. Plate IV, ‘‘ Knock Down.”’ 
The black is now on top, the tawny getting the worst of it. 


109. COCK FIGHTING. Plate V, ‘‘ Recovery.”’ 


Both cocks have recovered and a fierce battle is in progress. 


110. COCK FIGHTING. Plate VI, ‘‘ The Death.”’ 
‘‘ Dead—for my life—Even so—My tale is told.” 


111. ‘‘ COMFORTS OF A MODERN GALA.”’ ORIGINAL 
- COLORED IMPRESSION, after engraving by Woodward. 10x 
134 inches. Small margins. Lond., n. d. 


A characterization of the follies and foibles of the English 
aristocracy of the time, told with much humor, 


112. CONDE. ‘‘The First Hobby-Horse.’’ Drawn and 
engraved by J. Conde. 114 x 11} inches. Framed and 
glazed. Lond. 1792 

A®child enjoying his hobby-horse. 

113. COSTUMES OF 1859. ‘‘La Crinoline, 1859.”’ 

FINELY COLORED LITHOGRAPH, after Th. Guerin. 18 x 14 


inches. With margins. Paris, 1859 
Rare. A lady emerging from a carriage, man servant on 
each side, 


17 


114. COURSING SCENES. Coursing No. 1. IN COLORS. 
103. x 9 inches. Laid down. Framed and glazed. 


An interesting print in the manner of Alken showing a 
Coursing meet, many mounted figures, male and female, dogs, 
etc. 


115. COURSING SCENES. Coursing No. 2. IN COLORS. 
102 x9 inches. Laid down. Framed and glazed. 


An interesting print in the manner of Alken, the hare hid- 
ing in some ferns, the expectant hunters and dogs awaiting 
developments, 


116. DEER HUNTING. The Complete Set of Deer 
Hunting Scenes entitled ‘‘ Hey, to Tantivy.”’ Engraved by 
J. R. Mackrell, after the paintings by F. C. Turner. 254 x 
204 inches. WITH FULL MARGINS. : Lond. 1839 


THE FOUR FOLLOWING LOTS COMPRISE A COMPLETE SET OF 
THESE EXCEEDINGLY RARE DEER HUNTING SCENES. ALL ARE 
BRILLIANT ORIGINAL IMPRESSIONS IN COLORS. 

Plate I, ‘‘ The Meet,” illustrates the mounted huntsmen and 
the hounds outside a country mansion; three ladies in pictur- 
esque costumes are at a window to wish the hunters luck. 
This plate needs slight repairs in two places. 


117. DEER HUNTING. Plate II, ‘‘ The Find.”’ 


The deer having been foundjin a clump of brushwood, the 
hounds have started the chase, mounted hunters far behind. 


118. DEER HUNTING. Plate III, ‘‘ The Chase.” 


The deer is making a bold dash for liberty, having taken a 
Pee into the near-by river, hounds and hunters closely fol- 
owing. 


119. DEERHUNTING. PlateIV, ‘‘The Death.” 


The deer is making his last stand; one ‘hound, however, has 
got him by the leg, and anotber by the antlers. 


THE FOREGOING SERIES IS MOST ATTRACTIVE, 


120. EPSOM RACKS. ‘‘A Start for the Derby, or the 
Effects of a Windy Day. A View on the Epsom Course, 
1820.’’ IN COLORS. 15 x 22 inches, full margins. Lond. 1820 

Very spirited scene. 


“The Noble Science ’—Fox Hunting. 


An Unusual Collection, Including Many Scenes of Rarity. 


121. FOX HUNTING. An eighteenth-century fox-hunt- 
ing scene, in the manner of GEORGE MORLAND. 25 x 20 
inches, on stretcher, varnished. [ca. 1797] 


A spirited scene outside an ale house. The hunters prepar- 
ing to depart, the dogs ahead, while several yokels look on. 
FINE IMPRESSION. 


18 


122. FOX HUNTING. ‘“ At Fault.”? Engraved by Samuel 
Howitt, after his own painting. IN COLORS. 22x 174 inches, 
with FULL MARGINS. RARE. Lond. 1803 


FINE EARLY IMPRESSION of this spirited scene. The fox has 
disappeared into a hole in the ground, the dogs are crowding 
round, hunters standing by. 


123. FOX HUNTING. THE COMPLETE Series of Four 
Plates, engraved by Reeves, after Wolstenholme. OriI«G- 
INAL COLORED IMPRESSIONS. EXCEEDINGLY RARE. 15 x18 
inches. With full margins. Lond. 1810 


The four following lots are BEAUTIFUL ORIGINAL IMPRESSIONS, 
and form a most attractive fox-hunting series. 

Plate I, Ready for the Start. The hounds have taken up 
the scent; the horsemen are getting ready to follow them. 


124. FOX HUNTING. Plate II, Following over the 
stile; dogs well over it; huntsmen following. 


125. FOX HUNTING. Plate III, The approaching 
death; fox at bay; hounds close upon him; horsemen 
drawing near. 

126. FOX HUNTING. Plate IV, Refreshments; in the 
inn yard. 


127. FOX HUNTING. A Complete Set of the Fox Hunt- 
ing Scenes, engraved by I. Clark, after HENRY ALKEN.,. 
-Plate I, ‘‘The Earth-Stopper.’’ 18% x 11% inches. With 
margins. Lond.: M’Lean, 1820 


The above and the five following lots are ALL COLORED AFTER 
THE ORIGINAL IMPRESSIONS. Plate I depicts the earth-stopper 
the night before the hunt, lantern and spade in hands, accom- 
panied by his dogs, about to fill in the fox’s hole. 


128. FOX HUNTING. Plate II, ‘‘ Digging Out.”’ 
The next morning; the earth-stopper, assisted by the hunts- 
men, digging the fox out. 


129. FOX HUNTING. Plate III, ‘‘ Going into Cover.” 


Spirited scene; the hounds and hunters ready for the hunt. 


130. FOX HUNTING. Plate IV, ‘‘ Breaking Cover.”’ 


The fox is away, whipper-in blowing horn, hounds in hot 
pursuit. 


131. FOX HUNTING. Plate V, ‘‘In Full Cry.”’ 
The hounds are running swiftly up a bank, hunters closely 

following. | 

1382. FOX HUNTING. Plate VI, ‘‘The Death.” 


Whipper-in holding the brush; hounds drink in a near-by 
stream. 


133. FOX HUNTING. ‘ Bachelor’s Hall.”’ Plate II. 
IN COLORS. 15x19inches. Laid down. Framed and 
glazed. Lond., ca. 1832 

The principal figure in the picture is the squire upon his big 
gray inthe act of making a clean jump over a fence and 
stream, 


19 


134. FOX HUNTING. ‘‘Bachelor’s Hall.” Plate III. 
IN COLORS. 19 x 15} inches. Laid down. Framed and 
glazed. Lond., ca. 1832 

Typical scene, the hounds in full cry, accompanied by the 
riders, one of whom is whipping a refractory hound, 


135. FOX HUNTING. ‘‘Bachelor’s Hall.’’ Plate IV. 
IN COLORS. 19 x 142 inches. Laid down. Framed and glazed. 
Lond., ca. 1832 
In fullcry, the hounds running over a newly plowed field, 

riders to the side, etc. 

136. FOX HUNTING. ‘‘Bachelor’s Hall.”’ Plate V. 
IN COLORS. 19x14% Laid down. Framed and glazed. 

Lond., ca. 1832 
The death; hounds standing by while the whipper-in meas- 
ures the brush, etc. 

137. FOX HUNTING. ‘‘ Bachelor’s Hall.’’ Plate VI. 
IN COLORS. 22 x 25inches. Laid down. Framed and glazed. 

Lond., ca. 1832 
The meal within the clubhouse. Huntsmen seated at table, 
others arriving. 

138. FOX HUNTING. Alken Series of Six Plates [not 
named or lettered]. ALL COLORED AFTER THE ORIGINAL 
IMPRESSIONS. Plate I, ‘‘ Starting the Quarry.’’ 15 x 22. 
inches. With wide margins. [Lond., ca. 1835] 

The above, with the five following lots, comprise a complete 
set. PlateI, Star ting the quarry. ’A little trouble at the 
gate for those not taking the fence. 

139. FOX HUNTING. Plate IJ, The fox breaking cover. 
Hounds following close. Horsemen, too. 


140. FOX HUNTING. Plate III, Making a good leap. 
Two horsmen only are shown, with afew hounds. Group- 
ing is very spirited. 

141. FOX HUNTING. Plate IV, Which way? Horse- 
men hesitating upon the brow of a hill. Directions are 
being given by a traveller on foot. 


142. FOX HUNTING. Plate V, The death. Three hunts- 
men are shown at this critical moment. The body of the fox 
is held up to view. A few of the hounds just running up. 


143. FOX HUNTING. Plate VI, Refreshment. Hounds 
gathered around door of inn; several hunters being served 
with ale. 


144. FOX HUNTING. J. F. Herring’s, Sr., Fox Hunt- 
ing. Plate I, ‘‘The Meet.’’ Engraved by J. West Giles, 
after J. F. Herring, Sr. IN COLORS. 382 x 42 inches. Laid 
down. Framed and glazed. Lond., ca. 1838 


The above and the three following lots COMPRISE A COM- 
PLETE SET, are ALL BRILLIANT ORIGINAL IMPRESSIONS and EX- 
TREMELY RARE. Plate I, ‘‘ The Meet.” In the foreground are - 
grouped the principal hunters, Off in the distance are the 
hounds circled around the master on his horse. 


20 


145. FOX HUNTING. Plate II, ‘‘ The Start.’’ A wide 
stretch of country shown. Hounds and hunters following 
upon the trail of the fox, which, however, is out of view. 


146. FOX HUNTING. Plate III, ‘‘The Run.” Rear 
portion of hunt, is here featured, with the chief participants 
jumping a stream (one horse balking), while the dogs are 
far in the lead. 


147. FOX HUNTING. Plate IV., ‘“‘The Death.’ In 
front of a church. Reynard’s body is suspended from the 
limb of a tree, in view of hounds and horsemen. 


SECOND SESSION. 


148. FOX HUNTING. ‘‘The Melton Breakfast.” En- 
graved by Charles G. Lewis, after F. Grant. IN COLORS. 
OPEN LETTER PROOF. 26 x 36 inches. Framed and glazed. 

Lond. 1839 

Twelve members of the Quorn Hounds are assembled for 

breakfast in one of the rooms of the club. BRILLIANTLY COL- 
ORED, RARE. 

149. FOX HUNTING. ‘‘Road Riders, or Funkers.’’ 
Engraved by C. Hunt, after the painting by R. B. Davis. 
IN COLORS. 34x13%inches. With margins. Lond. 1841 


Colored after the original impression. Hilly country, show- 
ing several riders, some of which prefer going round to the 
level rather than tire their horses. 


150. FOX HUNTING. ‘‘ The Few, Not Funkers.’’ En- 
graved by C. Hunt, after the painting by R. B. Davis. 
IN COLORS. 384x13%inches. With margins. Lond. 1841 


Five well-mounted riders closely following the hounds, all 
of which have just taken a fence. 


151. FOX HUNTING. A Complete Set of fine Fox Hunt- 
ing Scenes, engraved by T. W. HUFFAM, after the paint- 
ings by J. F. HERRING. Plate I, ‘‘The Meet.’’ 32x 2332 
inches. WITH MARGINS. Lond., Nov. 1st, 1846 


The above, and the three following lots, COMPRISE A COM- 
PLETE SET OF THE VERY RARE ORIGINAL IMPRESSIONS IN COLOR. 
All have full margins, Time-stained in places and two plates 
need repairs. 

‘“The Meet” depicts a number of sportsmen (probably por- 
traits of celebrities), with whipper-in and the hounds to side. 


152. FOX HUNTING. Plate II, ‘‘ The Find.”’ 


The fox having been located near a clump of trees, the 
hounds immediately take up the scent and are off in hot pur- 
suit. 

153. FOX HUNTING. ‘ Full Cry.”’ 

Excellent scene, one hunter superbly mounted on a black 

making a particularly fine jump, hounds well in the lead. 


21 


154. FOX HUNTING. ‘‘ The Death.”’ 


Whipper-in holding the body at arm’s length, hounds barking, 
hunters galloping up. 

THE FOREGOING FORM A MOST ATTRACTIVE SERIES OF HUNTING 
SCENES. 


155. FOX HUNTING. ‘‘ Tom Moody, the Whipper-In ”’ 
Engraved by George Hunt, after J. Pollard. Plate III. IN 
COLORS. 25x30 inches. Laid down. Framed and glazed. 

Lond. 1854 


Tom’s funeral procession. At the head of it the coffin is 
borne upon the shoulders of six men ‘‘in hunter’s green.” 
Next follows his horse, with Tom’s boots, whip, hat, and the 
brush of his last fox. The funeral of this famous fox-hunter 
was one of the most notable events of the time. 


156. FOX HUNTING. ‘‘The Burial of Tom Moody.” 
IN COLORS. 10%x84+ inches. With margins. RARE ORIG- 
INAL IMPRESSION. Lond., undated, but ca. [1850] 


Moody was possibly the most noted whipper-in of his time. 
His fox-hunting friends have gathered in the graveyard and 
with bared heads are paying their last tribute. 


157. FOX HUNTING. ‘‘A Fox Hunter’s Dream.”’ 
Lithograph IN COLORS, after the painting by A. C. Havell. 
25x31 inches. Wide margins. Framed and glazed. 

Lond. 1890 


A series of 15, or more, small views on one sheet, full of 
humorous conceit. The fox-hunter is shown asleep before his 
fire, while visions of the chase in the reverse of reality people 
his dream, Reynard now becomes the hunter, NOT the hunted. 
He drives the dogs, chases the hunters, etc. 


158. FOX HUNTING. ‘‘ Getaway Forrard.” IN COLORS. 
Varnished and laid down on stretcher. 183 x12? inches. 
Framed and glazed. Recent 


Open country; the ‘“‘ whipper in” calling to a lagging hound 
to ‘‘Get away Forrard”’; five mounted riders taking part in 
the hunt. 


159. FOX HUNTING. Leicestershire. ‘‘ Gaudet Equis 
Canibusque.’’ A Struggle for the Start. Engraved IN 
COLORS by John Dean Paul. 18x24 inches. Framed and 
glazed. Lond., n. d. 


The above and the three lots following are COLORED AFTER 
THE ORIGINAL IMPRESSIONS AND ARE RARE. PlatelI, ‘‘ A Struggle 
for the Start.” All are showing up bravely, and after jumping 
two fences a few yards apart are closely following the hounds. 


160. FOX HUNTING. Plate II, ‘‘ The first ten minutes— 
Shaking off the cocktails.’? Hunters and dogs speeding 
along pretty much together. Another fence to jump. 


161. FOX HUNTING. Plate III, ‘‘ Symptoms of a skurry 
in a pewy country.’’ The ‘‘jades’’ show signs of going 
to pieces. Riders are seen driving the rowels deep into 
their sides. 

22 


162. FOX HUNTING. PlateIV, ‘‘Thedeath.’’ By the 
stream the fox has been overtaken, and his limp body is 
hung aloft for the inspection of all who have come up. 


163. FOX HUNTING. ‘‘ The Quorn Hunt.’’ Engraved 
by F. C. Lewis, after H. ALKEN. Plate IV, ‘‘ The Pace 


Begins to Tell.’’ Some huntsmen are in the ditch; one has 
been thrown before reaching that point; another is stuck 
in the fence. Lond., undated 


The above and the four following lots ARE COLORED AFTER 
THE ORIGINAL IMPRESSIONS, All are 2014 x 27 inches, with full 
margins. These five lots, purchased in the first part of the 
O. H. P. Belmont collection, are here re-sold for account of the 
purchaser. They were Nos. 153-157 in the first sale. 


164. FOX HUNTING. Plate V, ‘‘Snob is Beat.’’ A 
humorous ¢caste is given this picture, owing to the fact that 
‘*Snob’”’ and his owner refuse to jump the gate. 


165. FOX HUNTING. Plate VI, ‘‘ Full Cry: Second 
Horses.’’ The huntsmen are now scattered across the 
country. Only three are up with the hounds. 


166. FOX HUNTING. Plate VII, ‘‘The Whissendine 
Appearsin View.’’ Samesize as above, full margins. Three 
horses and riders have crossed the stream, aS many more are 
immersed in the water, at least half a dozen others hesitate 
on the farther shore. 


167. FOX HUNTING. Plate VIII, ‘‘The Death.” Rey- 
nard’s activity is now a thing of the past. 


168. FOX HUNTING. ‘‘The Royal Fox Hunters.’’ 
Engraved by J. Harris, after F. C. Turner. IN COLORS. 
21x14 inches. With margins. Undated 


The hunters at a breakfast toasting the Queen. 


169. FOX HUNTING. ‘‘A Check.’’ Open rolling 
country. 17%x124+ inches. Varnished and on stretcher. 
Framed and glazed. Recent 


The dogs vainly trying to take up the scent are running 
hither and thither; the hunters are asking the direction the 
fox has gone of a farmer, who points the way. 


170. FOX HUNTING. ‘‘A Pleasant Ride Home.”’ 
173x124 inches. Varnished and on stretcher. Framed 
and glazed. Recent 


The fox-hunter, having lost his companions and the hounds, 
is riding home; night is coming on,with falling snow; cottage 
in the background, with sign-post to the right. 


171. FOX HUNTING. ‘‘Drawn Blank.” 17% x 124 
inches. Varnished and on stretcher. Framed and glazed. 
Recent 


The scent being lost, the master is sounding the bugle call 
for the hounds. Five mounted hunters are standing in the 
open, a similar number of hounds in the rear, 


23 


172. HARE HUNTING. Two sportsmen, accompanied 
by three dogs, at the edge of some woods. One of the men 
has a hare in his right hand. IN coLors. In the manner 
of Henry Alken. 122x93inches. No margins. Ca. 1822 


173. HAWKING. ‘The Departure.’? Engraved by 
R. G. Reeve, after F. C. Turner. EARLY COLORED IM- 
PRESSIONS, AFTER THE ORIGINALS. 18x24 inches. With 
full margins. Lond. 1839 

The above, and the three following lots, are all EARLY COL- 
ORED IMPRESSIONS AFTER THE ORIGINALS. A RARE HAWKING 
SET. Plate I, ‘‘The Departure.’’ Led by a woman rider, the 
participants are passing out through the courtyard gate. A 
hawk rests upon the right hand of the leader. 

174. HAWKING. Plate II, ‘‘ The Rendezvous.” Just 
previous to the release of the hawks. Lady and gentleman 
in foreground; attendant with hawk and dog near by. 


175. HAWKING. Plate III, ‘‘ The Fatal Stoop.’’ Over 
the horsemen’s heads the hawk has attacked the heron and 
wounded it. 


176. HAWKING. Plate IV, ‘‘ Disgorging.’”? An at- 
tendant is shown squeezing the neck of the captured bird 
until it gives up a few of the fish it had caught. 


Horse Racing. 
A Series of Rare Portraits of Famous Winners, Mainly in Colors. 


177. HORSE RACING. ‘‘Protector.’? Engraved by 
G. T. Stubbs, after G. Stubbs. Stipple engraving, with ~ 
margins. 21x17tinches. Laid down. Framed and glazed. 
FINE IMPRESSION. Lond., Feb. 20, 1794 


178. HORSE RACING. ‘‘ Horse Razing. La Course de 
Chevaux.’’ Engraved by J. Godby and H. Marks, after 
Samuel Howitt. IN coLors. 204x154 inches. FULL 
MARGINS. Lond. 1807 


VERY RARE. The seven mounted riders are all in a cluster, 
one leading by half a length. 


179. HORSE RACING. ‘Equestrian Match against 
Time.” Engraved by H. Meyer, after the painting by J. 
Pardon, from life. ORIGINAL COLORED IMPRESSION. 12 x 16 
inches. With small margins. Laid down. Lond. 1819 

Contains a portrait of Mr. William Hutchinson, of Canter- 
bury, mounted on ‘‘Stareing Tom,” on their famous ride from 
‘‘ Canterbury to London Bridge in three hours.” The distance 
is 551g miles. Actual time of performance, two hours, twenty- 
five minutes, fifty-one seconds. 


180. HORSE RACING. ‘* Moses.’’ Drawn and engraved 


by JAMES POLLARD. IN COLORS. 22x18 inches. With 
margins. Lond. 1822 


Fine example, accurately colored after the original impres- 
sion, The trainer and jockey are standing by. With pedigree 
of the horse beneath. 

24 


181. HORSE RACING. ‘“Barefoot.’? Drawn and en- 
graved by JAMES POLLARD. IN COLORS. 22x18 inches. 
With margins. | Lond. 1823 


Striking portrait of this famous horse, the winner of the St. 
Leger of 18238, accurately colored after the original. His pedi- 
gree is beneath. Trainer and jockey standing by. 


182. HORSE RACING. ‘‘ Jerry.” Drawn and engraved 
by J. POLLARD. IN COLORS. 224x18 inches. With mar- 
gins. Lond. 1824 

Fine portrait, accurately colored after the original impres- 
sion, of the winner of the St. Leger of 1824. Mounted jockey, 
with judge’s stand at back, etc. 

183. HORSE RACING. ‘‘ A General Panic at Epsom.’’ 
ORIGINAL COLORED IMPRESSION. 114x174 inches. With 


margins. Lond. 1826 
‘“No run on the turf, but a desperate runon the bank.” On 
one side of picture the bettors, Craven included, are figuring 

out how they shall bet. 


184. HORSE RACING. ‘‘ Longwhiskers against Long- 
waist for the Craven STEAKS.’’ ORIGINAL COLORED IM- 
PRESSION. 114x174 inches. With margins. Lond. 1826 


Apparently a caricature of Lord Craven and his luxuriant 
whiskers. C...is mounted upon a piebald horse led by a 
negro jockey upon a donkey and urged on by a gathering of 
acquaintances convulsed with laughter. 


185. HORSE RACING. ‘‘ Matilda.’’ Painted and en- 
graved by J. POLLARD. IN COLORS. 224 x 174 inches. 
With margins. Lond. 1827 

Striking portrait of the winner of the St. Leger of 1827, with 
mounted jockey. Carefully colored after the original impres- 
sion. 

186. HORSE RACING. ‘‘ The Celebrated Tom Thumb.” 
Engraved by H. Pyall, after F. C. Turner. IN COLORs. 
25 x 29 inches. Laid down. Framed and glazed (slight 
repairs in places). Lond. 1830 

THE RARE ORIGINALIMPRESSION. This celebrated horse, driven 
in harness by; his owner, G. Osbaldeston, performed the ex- 
traordinary feat of running sixteen miles in 56 minutes and 45 
seconds. 

187. HORSE RACING. Newmarket. ‘‘ Training.’’ 
PlateI. Engraved by Sutherland, after Alken. IN COLORs. 
15 x 31 inches. With margins. [Lond., ca. 1835] 

; The above, and the three following lots, are COLORED AFTER 
THE ORIGINAL IMPRESSIONS, Plate I, Newmarket. ‘ Training.” 
Showing a number of horses blanketed and mounted by their 
trainers,—some are walking, some running; a few are can- 
tering. 

188. HORSE RACING. Plate II, Ipswich. ‘‘ Weigh- 
ing.’’ Jockeys weighing in in front of The London Tavern, 


189. HORSE RACING. Plate III, Epsom. ‘‘ Running.” 
In full swing. Horses are speeding, mounted by their 
jockeys. Other riders, with a trap or two, following. 


25 


190. HORSE RACING. Plate IV, Ascot Heath. ‘‘ Pre- 
paring to Start.” Blankets have been removed from the 
horses, mounts placed in saddles, the final instructions 
given, ete. 


191. HORSE RACING. ‘‘ Artaxerxes.’’ Engraved by 
R. G. Reeve, after the painting by F. C. Turner. 23 x 28 
inches. IN coLors. With full margins. Presentation 
copy to O. H. P. Belmont by T. Suffern Tailer. Lond. 1838 

This famous steed is shown driven tosulky. His death came 
suddenly as the result of a bite from a mad dog. 

192. HORSE RACING. ‘‘ Artaxerxes.’’ Engraved by 
R. G. Reeve, after the painting by F.C. Turner. 23 x 28 . 
inches. IN COLORS. With full margins. Lond. 1838 

Another copy of this race-horse, not a ‘‘ Presentation Copy.” 


193. HORSE RACING. ‘‘Bloomsbury.’’ Engraved by 
E Dunean, after the painting by C. Hancock. ORIGINAL 
COLORED IMPRESSION. 154 x19 inches. With margins. 

Lond. 1839 
‘‘Bloomsbury,” the winner of the Derby Stakes at Epsom in 
1839, with a jockey, who is driving him at a walk. 


194. HORSE RACING. ‘‘ Bloomsbury.” Engraved by 
C. Hunt, after J. F. Herring. IN coLoRS. 19 x 15 inches. 
FULL MARGINS. Lond. 1839 


THE RARE ORIGINAL IMPRESSION. A fine portrait_of the Derby 
winner of 1839, with mounted jockey. 


195. HORSE RACING. ‘‘ Grand Stand, Ascot.’’ En- 
graved by Charles Hunt, after the painting by J. F. Her- 
ring. IN COLORS. 254 x 34 inches. With margins. 

Lond. 1839 

The Ascot’s Gold Cup Day of 1839. In front of the enormous. 

Grand Stand, packed with thousands of onlookers, appear the 

following noted racers which have just finished the run, viz., 
Caravan, St. Francis, Ion, and Dey of Algiers, 


196. HORSE RACING. ‘‘ Extraordinary Trotting Match 
Against Time.” Engraved by Charles Hunt, after the 
painting by J. F. Herring. IN COLORS. 294 x 38 inches. 
Laid down. Framed and glazed. Slightly scratched. 
Lond. 1839 


BRILLIANT ORIGINAL IMPRESSION. A tandem driven to a 
racing sulky by Mr. Burke of Hereford. 


197. HORSE RACING. ‘‘ Kentucky.’’ ORIGINAL COL- 
ORED IMPRESSION. 27 x 344 inches. Laid down. Framed 
and glazed. Nv Y.. 1867 


A fine portrait of this noted racehorse. 


198. HORSE RACING. Portrait of St. Blaise, winner 
of the Derby Stakes at Epsom, 1883. Drawn and Engraved 
by Edwin H. Hunt. IN COLORS. 274 x 34 inches. Laid 
down. Framed and glazed. Lond. 1883 


FINE PORTRAIT OF THE DERBY WINNER OF 1883, with his 
jockey, Chas. Wood. 


26 


199. HORSE RACING. Portrait of Melton, winner of 
the Derby Stakes at Epsom, 1885. Engraved by E. R. Hunt, 
after 8. R. Wombill. IN COLORS. 27 x 364 inches, Laid 
down. Framed and glazed. Lond. 1885 


FINE PORTRAIT OF THE DERBY WINNER OF 1885, with his 
jockey, THE FAMOUS ‘‘ FREDDY ” ARCHER. 


200. HORSE RACING. ‘ The Plantation at New- 
market.”’ Lithograph IN COLORS, by Isaac Cullin. 28 x 41 
inches. Laid down. Framed and glazed. Lond. 1887 


An animated scene at the track before the race, with horses, 
jockeys and lookers-on intermingling. Prominent English men 
and women are pictured, including King Edward, Lord Rose- 
bery, etc. 


201. HORSE RACING. ‘‘Two Favorites; James Selby 
driving his Favourite Mare Savernake.’’ McQueen’s Coach- 
ings. Lithographed IN COLORS by H. Bird. 26 x 33 inches. 
Framed and glazed. Lond. 1889 


A FINE PORTRAIT of one of the most popular sportsmen of 
his time, seated in his dog cart drawn by ‘‘Savernake.” 


202. HORSE RACING. ‘‘At the End of the Race.’’ 
Lithograph, after G. D. Stiles. PROOF BEFORE LETTERS, 
SIGNED BY THE ARTIST. 30 x 39 inches. Framed and 
glazed. Lond. 1889-90 


The winner is being ungirthed and blanketed after his tri- 
umph. Around him are grouped a number of interested per- 
sons examining and passing upon his condition, etc. 


203. HORSE RACING. ‘‘ Grand National Steeple Chase 
at Liverpool.’ After the painting by G. D. Giles. Litho- 
graph IN COLORS. 42x 244 inches, Lond. 1892; and another, 
same size (poor condition of the latter). (2) 


Spirited scene at one of the most famous of English steeple 
chase races. The horses and their mounts are very close 
together, and an exciting time prevails. 


204. HORSE RACING. ‘‘ Returning from Ascot Races.”’ 
Engraved by E. Duncan, after the painting by C. Hender- 
son. BRILLIANT ORIGINAL IMPRESSION IN COLORS. 36 x 20 
inches. Framed and glazed. Lond., undated 


A scene of unusual animation, the road being covered with 
conveyances of all descriptions. 


205. HORSE RACING. A series of four Horse-Racing 
Scenes. IN COLOR, after HENRY ALKEN, on one sheet. 
174 x 14 inches, with margins. Undated 


(1) ‘‘ Going off for the first heat.” (II) ‘‘ Between the heats.” 
(III) ‘‘Coming in for the last heat.” (IV) ‘‘ The winner at the 
weighing house.” 


27 


Portraits of Horses. 
A Series of Portraits of Famous Coach and Other Horses. 


206. HORSES. ‘‘Horses in a Park.” Engraved by 
Zaffonato, after Wouwermans. StippleIN COLORS. 22x 164 
inches. FULL MARGINS. Undated, but ca. 1795 

ORIGINAL IMPRESSION, VERY RARE, A bay anda gray are 
standing side by side, the latter saddled, river and hills in the 
foreground. 

207. HORSES. ‘‘Two of his Majesty’s State-Horses.”’ 
Engraved by WILLIAM WARD, after the painting by H. B. 
CHALON. MEZZOTINT. 254x20inches. Laiddown. Framed 
and glazed. Lond. 1800 

BRILLIANT ORIGINAL IMPRESSION, WITH FULL MARGINS. The 
horses (the property of George IV) are standing by their stable 
door, with the principal coachman near by. 

EXTREMELY RARE. 

208. HORSES. ‘‘ Two Coach Horses.’’ Painted and en- 
graved by W. M. Fellows. 15x12 inches, short margins 
(slightly damaged, repaired). Lond. 1825 

RARE ORIGINAL IMPRESSION. Mezzotint, touched up. 


209. HORSES. Four French Seenes. Plate I. ‘‘ L’Entrée 
& VEcurie.’’ Engraved by Jazet, after C. Vernet. IN 
COLORS. 24 x 30 inches. With full margins. Paris [ca.1835] 


The above, and the three following lots, are BRILLIANTLY 
COLORED AFTER THE ORIGINAL IMPRESSIONS. Plate I ‘‘ L’entrée 
a l’ecurie.” The stableman, on a bay horse and leading a gray, 
is entering the stable. 


210. HORSES. Plate II. ‘‘ L’Intérieur de l’ecurie.”’ In - 
a spacious box-stall are the two horses mentioned, with the 
bay in a quarreling mood. 


211. HORSES. Plate III. ‘La sortie de Vecurie.” 
Coming out of the stable. The stable boy mounted upon 
the gray horse and this time leading the bay. 


212. HORSES. Plate IV. ‘‘ Le Palfrinier surveillant.”’ 
Again in the stall. Both horses somewhat angry. The 
stableman is looking on from a position well out of reach 


of their hoofs. 
THE FOREGOING PRESENT AN UNUSUALLY CHOICE SERIES. 


213. HORSES. Veterinary Diagrams. No. J. Exter- 
nal form and elementary Anatomy of the Horse. 8 figures 
in COLORS, with full descriptions. 28 x 21? inches. Framed 
and glazed. Lond., ete., ca. 1880 


Exceedingly useful chart. 


214. HORSES. Veterinary Diagrams. No. 2. Age of 
the Horse, and the Age of the Ox, Sheep and Dog. 42 fig- 
ures of teeth denoting age, with full descriptions. 273 x 
214 inches. Framed and glazed. Lond., etc., ca. 1880 

Exceedingly useful chart. 
23 


215. HORSES. ‘‘His Favorite Cob.’? WATER-COLOR 
DRAWING. 18%x204 inches. Under glass. Unsigned. 


Cob is shown hitched to dog-cart in front of gate. Groom 
at his head. Manor house and deer in the distance. 


216. HORSES. ‘‘Tableau des Principales Races de 
Cheveaux, et leur Robes.’’ Lithograph IN COLORS, after 
Albert Adam. 234x30 inches. Framed and glazed. 

Paris, n. d. 


An exhibit of 15 kinds of horses, with a list of works in 
French relating to the horse. 


217. HORSES. ‘‘ Poulinieres de Sang.”? (Brood Mares 
and Foals.) After the painting by J. R. Goubie. IN 
COLORS. 254x382 inches. Framed and glazed. [Paris, n. d. | 


Mares and foals are shown in pasture, an apple orchard in 
blossom near by. 


A Complete Set of Fores’ Hunting Casualties. 


218. HUNTING CASUALTIES. Fores’ Hunting Casual- 
ties. Plate1, ‘‘A Turn of Speed over the Flat.’ Engraved 
by Harris, after H. Alken. IN COLORS. 134x104 inches. 
With margins. Laid down. Framed and glazed. 

Lond., Jan. 1, 1850 
A spirited horse, having thrown his rider, is galloping away; 
mounted riders in front and back, etc. 


219. HUNTING CASUALTIES. Fores’ Hunting Casual- 
ties. Plate 2, ‘‘ A Strange Country.’’ Engraved by Harris, 
after H. Alken. IN COLORS. 134x104 inches. With 
margins. Laid down and repaired. Framed and glazed. 

Lond. 1850 

The horse, having been given his head, has taken his rider 

over a fence into a stream; other horses with their riders, 
dogs, etc., in background. 


220. HUNTING CASUALTIES. Fores’ Hunting Casual- 
ties. Plate 3, ‘‘ Dispatched to Head Quarters.”’ Engraved 
by Harris, after H. Alken. IN COLORS. 134x104 inches. 
With margins. Laid down. Framed and glazed. 

Lond. 1850 

One of the most spirited of this series. The horse at a stone 

wall, having succeeded in throwing his rider forward, who is 

‘Taking it with a Military Seat”; dogs hot to the scent, 
trees, etc., about. 

221. HUNTING CASUALTIES. Fores’ Hunting Casual- 
ties. Plate 4, ‘‘Up to Sixteen Stone.” Engraved by Har- 
ris, after H. Alken. IN COLORS. 134x104 inches. With 
margins. Laid down. Framed and glazed. Lond. 1850 


The country squire, who weighs 16 stone (224 pounds), is well 
seated and riding in the lead; dogs to the side, two mounted 
riders just over the fence, others about to take the jump. 


29 


222. HUNTING CASUALTIES. Fores’ Hunting Casual- 
ties. Plate 5, ‘‘ A Rare Sort for the Downs.”’ Engraved 
by Harris, after H. Alken. IN COLORS. 134x10} inches. 
With margins. Laid down. Framed and glazed. 

Lond. 1850 


The horse, having thrown his rider, is making away at full 
speed; hounds in the foreground, mounted riders, etc., in 
background. 


223. HUNTING CASUALTIES. Fores’ Hunting Casual- 
ties. Plate 6, ‘A Mutual Determination.” Engraved by 
Harris, after H. Alken. IN COLORS. 134x104 inches. 
With margins. Laid down. Framed and glazed. 

Lond. 1850 


The horse having given his rider a jolt going over the fence, 
the rider is falling to the side; other mounted riders in the 
background; several dogs hot to the scent; rocky, rolling 
country, etc. ; 


224. MILITARY SCENES IN AQUATINT. A series of 
Military Scenes of unusual interest. All engraved by I. 
Bluck, after the paintings by C. GESSNER. 244 x 20 inches. 
WITH FULL MARGINS. Lond., Sept. 1, 1801-1803 


‘‘Austrian Troops fording a River.” This and five following 
lots comprise A VERY RARE SERIES OF MILITARY ENGRAVINGS. 
ALL ARE BRILLIANT ORIGINAL IMPRESSIONS IN AQUATINT. 

The mounted soldiers are travelling in a mountainous coun- 
try; the leaders are half way across the river; ruins of castle 
on hill, etc. 


225. MILITARY SCENES IN AQUATINT. ‘‘A Rec- 
onnoitering Party of Austrian Dragoons retreating from 
the Enemy.’’ (Plate needs repairs. ) 

Two mounted soldiers, swords in hand, galloping away. 


226. MILITARY SCENES IN AQUATINT. ‘‘ A Bava- 
rian Patrol falling in with a French Piquet.’’ 


The Bavarian cavalry meeting the French infantry, Spirited 
scene, 


227. MILITARY SCENES IN AQUATINT. ‘A Piquet 
of Saxon Dragoons in an Old Castle.”’ 
Drinking and card-playing scene; horses tied up and feeding. 


228. MILITARY SCENES IN AQUATINT. ‘‘A Piquet 
of Prussian Hussars in a Church.’’ 


Some talking, some smoking pipes with very long stems; 
horses feeding. 


229. MILITARY SCENES IN AQUATINT. ‘‘ Saxon 
Dragoons attacking a Park of Artillery.” 


Spirited scene, probably containing some portraits. 

THE FOREGOING SERIES PRESENTS AN INTERESTING PICTORIAL 
RECORD OF THE MILITARY COSTUMES OF THAT PERIOD, ILLUS- 
TRATING NAPOLEON’S WAR WITH AUSTRIA. 


30 


Engravings in Color and Mezzotint, After 
GEORGE MORLAND. 
All Original Impressions. 


230. MORLAND (GEORGE). ‘‘ Watering the Cart 
Horse.’’? Engraved by I. R. Smith, after the painting BY 
GEORGE MORLAND. 164x 13 15/16 inches. 

Lond.: Published August 1, 1794 
BRILLIANT ORIGINAL IMPRESSION, WITH MARGINS, OF EX- 
TREME RARITY. 
An exceedingly attractive example. The farmer’s boy is 
astride of the horse, who has his mouth in the water; a rock 
rises to the right, with water, grass, etc., about. 


* 231. MORLAND (GEORGE). A Fox Hunting Scene 

(The Hunter’s Return?) after the painting by George Mor- 
land. 244x19 inches. Framed and glazed. 

[Lond. ca. 1799] 

THE RARE ORIGINAL IMPRESSION IN COLORS. Somewhat 


damaged on lower margins, and in several places on the plate; 
title rubbed away, also engraver’s name. 


232. MORLAND (GEORGE). ‘‘ Rubbing down the Post 
Horse.”’ Engraved by I. R. Smith, after the painting BY 
GEORGE MORLAND. 164x 1315-16 inches (slightly rubbed, 
hardly noticeable, in the sky). 

Lond.: Published August 1, 1794 


BRILLIANT ORIGINAL IMPRESSION, WITH MARGINS, OF EX- 
TREME RARITY. 
The farmer's boy, with a handful of straw, in the act of 
ae an invigorating rub to the post horse, tied outside the 
stable 


233. MORLAND (GEORGE). ‘‘ Evening, or, The Post 
-Boy’s Return.”” Engraved by D. Orme, after the painting 
BY GEORGE MORLAND. 234 x 19 inches. Laid down. 
Framed and glazed. Lond.: Orme, Jan.1, 1796 


BRILLIANT ORIGINAL IMPRESSION. VERY RARE. Full mar- 
gins at bottom (containing the title, etc.), small margins at 
top and sides. 

The scene is in a stable where the farmer is attending to his 
horse ; in comes the post boy with the news of the day ; the 
farmer’s son seated on some straw ; pigs, dog, chickens, etc., 
nearby: 


234. PATON SPORTING ETCHINGS. ‘In Fine Style.” 
Etched by FRANK PATON, after Theo. Blinks. 103x 74 
inches. Lond. 1890 

The above and the three following lots ARE ALL ETCHINGS, 
PROOFS ON INDIA PAPER, SIGNED BY BOTH PAINTER AND ETCHER, 
ALL ARE STAMPED BY THE PRINT SELLERS’ ASSOCIATION. 
Proof before letters. 

The first plate shows two mounted riders making a clean 
jump over a fence. 


ol 


235. PATON SPORTING ETCHINGS. ‘‘ Outclassed.”’ 
Lond. 1890 


The race is almost over, the last horse being far behind. 


236. PATON SPORTING ETCHINGS. ‘‘The Last Lap.” 


Passing the judge’s box at full gallop. Lond. 1890 
237. PATON SPORTING ETCHINGS. ‘‘Close To- 
gether.’’ Lond. 1890 


Steeplechase scene: Three mounted riders just over the 
fence practically altogether. 


238. ‘*PHIZ’?’ SPORTING PLATES. ‘‘ Fores’ Series.”’ 
IN COLORS. The complete set. 12 plates. 13 x 204 inches. 
With margins. Lond. 1863 

A very attractive series of plates after the original drawings 
by “‘ Puiz” (A. K. Browne), portraying scenes in a deer hunt, 
Including ‘‘ A Short Cut to the Meet;” ‘‘ Uncarting the Deer;’ 
‘‘Hold Hard! Let the Hounds Go First, if You Please, Gentle- 
men,” etc. 

239. ‘* PHIZ” SPORTING PLATES. IN COLORS. Two 
plates. 15x 2linches. With margins. Inmats. Lond., n.d. 


One plate shows a fox hunt in progress. The other shows the 
leader of the huntsmen caught in the bushes, while his wig 
floats from a sapling in his rear. 


Pugilism. 
Portraits of Famous Pugilists, Views of Battles, etc. 


240. PUGILISM. ‘‘ Richard Curtis.’? Drawn and en- 
graved by Williams. IN COLORS. 15 x 22 inches. Full 


margins. Lond. 1820 
At the youthful age of 21 years this boxer is said to have been 
the ‘‘neatest ... of his weight (9 stone) in England.” 


241. PUGILISM. ‘‘The Interior of the Fives Court.’’ 
Randall and Turner sparring. Engraved by C. Turner, 
after the painting by T. Blake. 294x386 inches. Laid down. 
Framed and glazed. EXCEEDINGLY RARE. Lond. 1825 

BRILLIANT ORIGINAL IMPRESSION IN COLORS. Within the 
spacious interior have gathered many spectators. Among them 
are undoubtedly many prominent sporting characters of the 
period. 

242. PUGILISM. ‘‘ The Great Fight between Broome 
and Hannan for £1000.’’ Engraved by C. Hunt, after H. 
Heath. IN COLORS. 28 x 34inches. Framed and glazed. 

Lond. 1841 

VERY RARE. This print contains a large number of figures, 
many of which are undoubtedly portraits of the prominent 
sportsmen of the period. 

243. PUGILISM. ‘‘William Gillam.’’ Lithograph. 13{x 
184 inches. With margins. ORIGINAL COPY. Lond. 1859 


This fighter held the lightweight championship of England 
from 18538 to 1859. 


32 


244, “* RACING NIGHTMARE (A).” From the Original 


.Painting by A. C. Havell. FINELY COLORED. 24}? x 304 


inches. Full margins. Framed and glazed. 
Lond.: Messrs. Fores, 1891 


One of the most spirited of modern sporting prints. A lady 
is dreaming, surrounded on all sides by horses, phantom and 
otherwise. A race is in progress (the Derby of 1891 ??), and the 
horses’ foreheads bear portraits of their respective owners, the 
Duke of Westminster, Prince of Wales (Edward VII), L. Roths- 
child and others, with the riders, including the famous 
“Freddy ” Archer, M. Cannon and others. Accompanying the 
above is the ‘‘ Key” plate, showing owners and riders, 


245. ROWLANDSON COLOR PRINTS. A series of five 
plates, IN COLOR, by Thomas Rowlandson (from Acker- 
man’s Repository), illustrating Miseries of Games, Sports, 
ete.; Miseries of Travelling, etc. On one sheet, within 
sunk mounts. Framed and glazed. Lond. 1807 


246. ROWLANDSON COLOR PRINTS. A series of 


' prints, IN COLOR, by Thos. Rowlandson (extracted from 


Akerman’s Repository). On one sheet, within sunk mounts. 
Framed and glazed. Lond. 1807 


247. SHOOTING. The Rifle Contest, Wimbledon, 1864. 
Lithograph IN COLORS. 26 x 174 inches. Framed and 
glazed (margins worn). 1864 


Steeplechasing. 


248. STEEPLECHASING. ‘‘Six Points of a Steeple 
Chase.” After the paintings by HENRY ALKEN.) IN COLORS. 
154 x 124. With margins. Lond.[ca-. 1830] 

FINE EARLY IMPRESSIONS. A series of six spirited steeple- 
chasing scenes on one sheet. 

249. STEEPLECHASING. Leamington Grand Steeple 
Chase, 1837. (Three Plates of Set of Four). Plate I. 
Engraved by Charles Hunt, after F. C. Turner. IN COLORS. 
24x32 iuches. With margins. Lond. 1837 

The above and the two following lots are COLORED AFTER 
THE ORIGINAL IMPRESSIONS. Plate I, Starting off. Group of 
horses and riders riding down centre of picture. Back of them 
a hill thronged with spectators. 

250. STEEPLECHASING. Plate II, Taking the third 
fence. Only one horse balks at it. 


951. STEEPLECHASING. Plate IV, Finishing up. 
Over the last fence to the post. 


2952. STEEPLECHASING. ‘Liverpool Grand Steeple- 
Chase, 1839.’ Plate IV, ONLY, ‘‘ Coming In.’’ Drawn and 
Engraved by Charles Hunt. IN COLORS, 25x35 inches, 


full margins. Lond. 1839 
The artist shows not only the horsemen, but the grand and 
subsidiary stands, with their multitude of observers, the stew- 

ards of the course, the judges, etc. 


33 


253. STEEPLECHASING. ‘‘The Liverpool Great Na- 
tional Steeple-Chase,1839.”’ PlateII. Engraved by J. Har- 
ris, after Fk. C. Turner. IN COLORS. 25x43 inches. Laid 
down. Framed and glazed. Lond. 1839 


BRILLIANT ORIGINAL IMPRESSION, WITH MARGINS. VERY 
RARE. Two horses and their riders are safely over the fence, 
others are coming, some have failed, spectators to the sides. 


254. STEEPLECHASING. ‘‘The Liverpool Great Na- 
tional Steeple-Chase, 1839.’’ Plate IV. Engraved by J. 
Harris, after F.C. Turner. In COLORS. 254x234 inches. 
Laid down. Framed and glazed. Lond. 1839 


BRILLIANT ORIGINAL IMPRESSION, WITH MARGINS. VERY 
RARE. Horses are running past the observation stands. With 
the names of those in view engraved beneath the picture. 


255. STEEPLECHASING. ‘‘ Well under Way.’’ Etching 
in COLORS by Frank Paton, after T. Blinks. 10 x 7} 


inches. Laid down. Framed and glazed. Lond. 1890 
Spirited scene, four horses and their riders just over the 
fence. 


™ 256, STEEPLECHASING. ‘The Favorites Down.’’ 
Etching in COLORS by Frank Paton, after T. Blinks. 
10 x 74 inches. Laid down. Framed and glazed. Lond. 1890 


The favorite on his knees, his rider fallen on his side, two 
just behind over the fence, etc. 


257. STEEPLECHASING. ‘In It.” Etching in COLORS 
by Frank Paton, after T. Blinks. 10x 74 inches. Laid 
down. Framed and glazed: Lond. 1890 


Passing the judge’s stand at full speed, the two next in order 
in close pursuit, grand stand crowded with spectators, mark- 
ing board, etc., to the side. 


258. STEEPLECHASING. ‘‘Out of It.’ Etehing in 
COLORS by Frank Paton, after T. Blinks. 10 x 74 inches. 
Laid down. Framed and glazed. Lond. 1890 

The losing horse and his rider are walking home, the others 
just round the homestretch. 

259. HORSE AND RIDER TAKING A WATER JUMP. 
Oil Painting. Unsigned. 18 x 14 inches. 


Jockey in red coat on a chestnut mare is taking a water 
jump. Unsigned. Carefully painted. 


A COLOR PRINT OF EXTREME RARITY AND BEAUTY. 


260. WARD (JAMES—R.A.). ‘‘A LivERY STABLE.’’ 
OF EXTREME RARITY. Lond.: Pub. Jan. 1, 1796, by T. 
Simpson, St. Paul’s Chureh Yard. 


BRILLIANT ORIGINAL IMPRESSION IN COLORS, WITH MARGINS, 
A LARGER COPY THAN THAT DESCRIBED BY MRS, FRANKAU IN 
HER WORK ON WILLIAM AND JAMES WARD, AS IT MEASURES 


34 


: 


24 15/16 x 20 1/2, whereas the measurements given by Mrs. 
Frankau are 24 1/16 x 20 5/16 inches, 
The following description is copied from her work: 


“Young buck (SAID TO BE A PORTRAIT OF JAMES WARD) in 
riding suit, hat, top boots, gloves, whip in right hand, supports 
on left arm young lady (SAID TO BE A PORTRAIT OF MRS. WARD) 
in riding dress, top hat, long curls, her hands clasped over the 
man’s arm; her attention is engaged by a light-colored mare, 
which a boy holds by bridle, whip in right hand. Stout stable- 
man, hat under left arm, speaks to the young couple, pointing 
with right hand. To right, dogs, a man saddling a horse, etc, 

Peep of country through door of yard. Under, in cursive 
letters, Jas. Ward, del, et sculp, A Livery Stable,” etc. 


THE FINEST AND MOST BEAUTIFUL PRINT IN THE COLLECTION, 


[See Frontispiece. | 


261. WARD (WILLIAM). ‘‘The Durham White Ox.” 
Engraved by Ward, after the painting by G. Garrard. 
MEZZOTINT. 28x324 inches. Laid down. Framed and 
glazed. Lond. 1813 


BRILLIANT ORIGINAL PROOF IMPRESSION. IN FINE CONDI: 
TION. 
This remarkable animal weighed 223 stone (8,122 pounds). 


262. WASHINGTON. ‘‘Triumphal Entry into New 
York, Nov. 25th, 1783.’’ Lithograph by C. Inger. 33 x 444 
inches. Backed with linen. 


263. WASHINGTON’S TRIUMPHAL ENTRY INTO 
NEW YORK. IN COLORS. 224x 29 inches. 


264. YACHTING. Signed proof ON INDIA PAPER of the 
Original Engraving by J. O. Davidson. 273 x 40 inches. 
Full margins (slightly defective). N. Y. 1894 


A spirited view of an ocean yacht race. Yachts are seen 
after turning the stake, with steam yachts, steamers and 
steamboats with loads of interested spectators gathered 
around, 


Political Caricatures in Water-Colors. 


The following ‘series of CARICATURES IN WATER-COLORS, were 
executed for the short-lived political periodical ‘‘ The Verdict,” edited by 
Alfred Henry Lewis. 


265. BRYAN CARTOON. Taylor (Horace). ORIGINAL 
WATER COLOR DRAWING. Size 27 x 17 inches. 


Portrait of Bryan pointing to an American flag patched with 
‘‘ Trust Loot,” ‘‘ Cuban Postal Steal,” ‘‘ War Taxes,” etc. 


30 


266. BRYAN CARTOON. ORIGINAL COLORED CAR- 
TOON. By Horace Taylor. ‘‘ Here are your Weapons and 
There is the Foe.’’ 17x27 inches. On heavy board. 

Bryan, a figure of heroic stature, holds within his right hand 
three swords upon the scabbard of each of which are the fol- 
lowing quotations from Lincoln’s ‘‘ Gettysburg Address: (1) 
Of the people, (2) By the people, (3) For the people.” The ‘‘ foe” 
is depicted as a monstrous hydra-headed dragon denominated 
‘« Monopolistic Greed,” the heads of which are marked 
‘ Trusts,” ‘‘ Imperialism,” etc. Into one of the mouths of the 
beast is being swallowed a roll of paper entitled ‘‘ The Declara- 
tion of Independence.” 


267. HANNA CARTOON. ORIGINAL COLORED CAR- 
TOON. By Horace Taylor. 17x27 inches. On heavy 


board. 

Hanna, of tremendous build, and clad ina ‘‘ loud ” check- 
suit, is ascending a mountain carrying a Socialistic flag upon 
which is sketched the following: ‘‘The Philippines are Pact- 
fied. There is xo War in China. PROTECT LAaBoOR—(And Don’t 
Forget Capital).” 


268. LINCOLN. ORIGINAL WATER-CoLOR CARTOON of 
Bryan and Lincoln by Horace Taylor. Size, 27x 17 inches. 
Shows Bryan pointing to a fine portrait of Lincoln and 


quoting a portion of Lincoln’s speech, ‘‘ As a result of the war 
corporations have been enthroned. . .” 


269. LUKS (GEORGE B.). Original Water-Color Car- 
toon. The Wreck of the Ship of State. Size, 16 x 254 


inches. 

Fine cartoon showing Uncle Sam bound to a stake in front 
of a fire. Around him are gathered the cannibals, whose chief, 
Hanna, remarks, ‘‘ Now, damn you, were going to eat you.” 
Elkins is dragging Miss Liberty toward the pot and Rockefeller 
stands by the fire with a club, representing the Standard Oil, 
ready for victims. Looking on with fiendish faces are Morgan, 
Havemeyer, Armour, C, P. Huntington, Whitney, etc. In the 
distance is shown the wreck of the ‘‘ Ship of State” against 
the ‘‘ Trust Rocks.” 


270. McKINLEY CARTOON. ORIGINAL COLORED CAR- 
TOON BY HORACE TAYLOR. 17x 27 inches. On heavy 


board. 

Shows the interior of a tent, with McKinley as Strong Man, 
performing upon the G. O. P. Elephant, which, in turn, is 
riding the ‘‘ Trust” hippopotamus. The performance is being 

' given before an audience of trust magnates. 


271. MCKINLEY CARTOON. The White House Inn. 
By Horace Taylor. ORIGINAL WATER-COLOR: CARTOON. 
Size, 27 x 17 inches. 


Mark Hanna, as Inn Keeper, sitting in front of the White 
House. Ona signboard is a cartoon of McKinley, with a crown 
on his head and the inscription ‘‘ The McKinley Arms.” 


272. N. Y. POLITICAL CARTOON. Original water- 
color cartoon by Bristol. Size, 12 x 13 inches. 


Shows Odell as a Lobbyist emerging from the Ramapo Scan- 
dal Creek, with Platt on the Bank about to scrub him with 
‘* Platt’s Political Bleach.” 


36 


SN ee - Oe 


coal SUP Cn Oe ater tee Sole FO ee ee 


273. POLITICAL CARTOON. Original water-color car- 
toon by Horace Taylor. Size, 17 x 27 inches. 


The trusts, represented by an enormous dragon, which holds 
the earth in one paw while he stares at a grotesque figure of 
McKinley riding a hobby-horse labeled ‘‘ Republican Stuffed 
Anti-Trust Sentiment.” 


274. ROOSEVELT CARTOON. ORIGINAL WATER-COLOR 


CARTOON by Horace Taylor. Size, 27x17 inches. 


Amusing cartoon, representing Roosevelt as a Bucking 
Broncho, with a huge hog on his back called the ‘‘ Great 
American Trust.” Under the picture is written ‘‘ Now Buck.” 


275. ROOSEVELT CARTOON. Original Water-Color 
Cartoon by Horace Taylor. Size, 13 x12 inches. 


Roosevelt ‘‘ Standing off the Trust Gorrotes,” who are shoot- 
ing Vice-Presidential poisoned arrows at him. 


276. ROOSEVELT CARTOON. Original Water-Color 
Cartoon by Horace Taylor. Size, 17x 27 inches. 


Hanna, as Santa Claus, has presented McKinley with a deed 
to the White House, and Roosevelt is looking over the foot of 
the bed for his deed to the Vice-Presidency. 


217. ROOSEVELT CARTOON. ORIGINAL COLORED 
CARTOON. ‘‘His Chicken Roosts at Home.’’ By Bristol. 
12x13 inches. On heavy board. 


The return of Roosevelt in his rough-rider uniform, discover- 
ing a chicken labelled ‘‘ Cowardice”’ roosting in his broad- 
brimmed slouch hat. A piece of letter upon which the chicken 
is roosting reads, ‘‘J will punish the Canal Thieves.” 


278. ROOSEVELT CARTOON. ORIGINAL WATER- 
COLOR CARTOON of Roosevelt. By Bristol. Size, 15x12 in. 


Amusing cartoon showing Roosevelt stuffed out with a pillow 
labelled ‘‘Courage of Egotism.” He holds in his hand a paper, 
‘*All Democrats are Cowards,” and in one corner are Dewey, 
Schley and Wheeler laughing at him. 


279. ROOSEVELT CARTOON. ‘‘ The Unmuzzled Ted- 
dy Amuck.’’ By Horace Taylor. ORIGINAL COLORED 
CARTOON. 27x17 inches. On thick card. 


Mr. Roosevelt, in rough-rider costume, on a fiery steed 
named ‘‘Slander,” holding in his hand a bucket of ‘‘Campaign 
Muck,” which he throws at Dewey. Attached to the horse’s 
tail is a sheet which reads, ‘“‘The Democrats stand for lawless- 
ness, etc.” 


280. ROOSEVELT CARTOON. ORIGINAL W ATER-COLOR 


CARTOON. By Bristol. ‘‘ Acquiring a New Seat.’’ 15 x12 


inches. On thick card. 
Mr. Roosevelt in riding dress ona hobby-horse named ‘‘ Dig- 
nity.” 


281. STANDARD OIL CARTOON. ORIGINAL W ATER- 


CoLOoR CARTOON. By Horace Taylor. 17 x 27 inches. 
Heavy board. 


Rockefeller in the form of a huge boa-constrictor represents 
the Standard Oil Trust, about to devour Hanna, Gage, Morgan 
and Morton, who are pictured as frogs. 


37 


282. TAYLOR (HORACE). ORIGINAL COLORED CAR- 
TOON. 17x 27 inches. On heavy board. 

Represents scene upon the floor of the N. Y. Stock Exchange. 

In foreground of cartoon and at one side stands Uncle Sam 

with sad visage, while near him are J. D. Rockefeller, J. P. 

Morgan and L. G. Gage in characteristic attitudes, with smiling 


faces, as though they had rather the best of the government in 
the year’s deal. 


283. TAYLOR (HORACE). Original Water-Color Car- 
toon. What our Ironclad Friendship with England really 
means. Size, 17 x 27 inches. 

Shows Uncle Sam bound on one side to John Bull by a chain 
of ships and British troubles, while on the other side are the 


three allegorical figures of Liberty, Peace, and Industry beg- 
ging him to sever his connection with England. 


284. TAYLOR (HORACE). ORIGINAL WATER-COLOR 
CARTOON. 27 in. x17%7in. Entitled ‘‘His Point of View.”’ 


Shows J. D. Rockefeller as Gulliver tipping over the White 
House on his hand and examining the Lilliputians, represented 
by Mark Hanna and other capitalists, and remarking, ‘‘ What a 
funny little government.” In the distance the Capitol build- 
ing is shown as a Standard Oil Refinery. 


285. UNCLE SAM AT AUCTION. Original Water- 
Color Cartoon by Horace Taylor. Size, 12 x 15. 


Uncle Sam is on the auction block in chains and J. Pierpont 
Morgan is bidding for him, with Gage as auctioneer, while 
Hanna struts behind and watches the game, 


286. OAK FRAME, with glass, suitable for a picture 
about 23 x 16 inches. 


287. PORTFOLIOS. Three large portfolios, heavy boards, 
morocco backs. Suitable for Large Engravings. Worn. 
NOT RETURNABLE. 


ose 


THE GETTY CENTER 


LIBRARY 


1910 Mar.16 NeAnB c.1 
Aaa ee sporting prints 


HH NAN 


3 3125 01184 8949 


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